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2020-12-28T05:29:26Z

PINGKI TANCHANGYA 4: /* Pingki, Tanchangya */

==Alsied, Saffana==
1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们的国王被杀，他的头骨变成了饮酒器。结果，柔脂逃走了，对熊怒不断地怀恨在心。这时，汉人变得越来越强大，吴皇帝决心打败匈奴。

他们的国王被杀，他的头骨变成了饮酒器。结果，大月氏逃走了，却仍然对匈奴怀恨在心。这时，汉朝变得越来越强大，汉武帝决定攻打匈奴。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)

2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们甚至还搭载了许多外国国家元首和特使前往中国。仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。

3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West.

16世纪下半叶，耶稣会的外国传教士来到中国。他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。

16世纪下半叶，耶稣会的外国传教士来到中国。他们一方面传播宗教学说，另一方面把天文学，数学，物理学，地理，绘画和音乐方面的著作引入中国。同时，他们把中国的儒家和道家思想带到了西方，为中西文化交流做出了贡献。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 10:52, 27 December 2020 (UTC)

4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.

第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便建立现代国防。这些人被称为洋务派，他们发起了向西方列强学习的运动。

第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling

==Cao Runxin 曹润鑫==
1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点，全长6440公里。

The traditional Silk Road starts in Chang'an, the ancient capital of China, and reaches the Mediterranean Sea via the Central Asian countries, Afghanistan, Iran, Iraq and Syria, ending in Rome, a total length of 6,440 kilometres.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

2.海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The Maritime Silk Road was formed during the Qin and Han dynasties, developed during the Three Kingdoms to the Sui dynasty, flourished during the Tang and Song dynasties, and transformed during the Ming and Qing dynasties, making it the oldest known maritime route.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

3.此时的西学传入，主要以传教士和一些中国人对西方科学著作的翻译为主。

The introduction of Western learning at this time was dominated by the translation of Western scientific works by missionaries and some Chinese.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:55, 28 December 2020 (UTC)

4.当时时期主要特点就是整体化和近代化。近代化就是资本主义代替封建专制，这是历史的必然。这也是洋务运动试图走近代化的道理，在世界整体化的趋势下，中国比较被动的卷入。

The main characteristic of the period was holism and modernisation. Modernisation is the replacement of feudal autocracy by capitalism, which is a historical necessity. This was also the rationale behind the attempts of the Westernization Movement to modernise, with China being more passively involved in the trend towards the globalisation of the world as a whole.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 04:01, 28 December 2020 (UTC)

==Chen Han 陈涵==

1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。

The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。

During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。

Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。

The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

==Chen Jingjing 陈静静==

1.丝绸之路不仅是古代亚欧互通有无的商贸大道，还是促进亚欧各国和中国的友好往来，沟通东西方文化的友谊之路。

The Silk Road is a commercial avenue for exchanges between Asia and Europe in ancient times as well as a road of frienndship that promotes friendly exchanges between Asian and European countries and China.

The Silk Road is not only a commercial avenue for exchanges of needed goods between ancient Asia and Europe, but also a road of friendship that promotes friendly communications, and cultural exchanges between China and European countries.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

2.在群星璀璨的中华英杰中，郑和不但以先于西方人航海，胜于西方人的航海技术受到国际社会的关注，而且以其所代表的一种文化精神得到人们的关注。

Among the distinguished Chinese heroes, Zheng He not only got the attention for his sailing sills which precended and surpassed Westerns, but also attracted people's attention with the cultural spirit he represented.

Among the distinguished Chinese heroes, Zheng He received international concerns not only because of his navigation skills which surpassed the Westerners, but also for a cultural spirit he represented.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

3.西学东渐意味着以西方之学术，灌输于中国，使中国日趋于文明富强之境。

The eastwars spread of western learning means instilling in China with Weastern academics so as to make China more civilized and prosperous.

The Eastward Spread of Western Learning means to instill western academics into China so as to make it more civilized and prosperous.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

4.处于传统国家和农业文明体系下的中国在面对经过资产阶级革命后的现代国家和工业文明的英国的挑战时显得不堪一击。

Under the traditional agricultural civilization system, China was such vulnerable to the challenges from England, which was already a modern and highly industrilized country after the bourgeois revolution. --[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 12:15, 27 December 2020 (UTC)Chen Jingjing

Under the traditional agricultural system, China was too vulnerable to face challenges from the British, which was already a modern and highly industrialized country after the bourgeois revolution.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:56, 27 December 2020 (UTC)

==Dashkin, Gennadii==

1.In 119 BC, Zhang Qian set off on his second journey to the Western Regions.

公元前119年，张谦出发了他的第二次西域之旅--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

2.While Zheng's fleet showed off Chinese might and naval prowess, orthodox Chinese histories depict him as never engaging in gunboat diplomacy, rather developing friendships with foreign leaders.

郑的舰队展示了中国的威力和海军实力，而正统的中国历史则将他描绘为从未从事炮舰外交，而是与外国领导人发展友谊。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

3.The eastward transmission of Western learning refers to the transmission of Western cultures in China in the mid-1800s.

西方学习向东传播是指1800年代中期西方文化在中国的传播--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

4.China has always been a planned economy where the government played a big role in deciding how the country should be controlled.

中国一直是计划经济国家，政府在决定如何控制国家方面发挥着重要作用。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 15:22, 27 December 2020 (UTC)

==Chen Yongxiang 陈永相==

==Ding Daifeng 丁代凤==

1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。

A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

A vast batch of historical relics, fascinating scenery and interesting local cultures along the Silk Road enable this long trip to be one of the world’s most exciting tourist attractions.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)

2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。

An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)

3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。

From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。

Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

Under the guidance of the Han scholars with modern thinking, people learned the science and language of the west opened special schools in some big cities. Armouries, factories and docks were also built with reference to Western models.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 11:54, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。

Zhang Qian, rated as a great diplomat and explorer, is "the first Chinese to open his eyes to see the world "," the pioneer of the Silk Road" and "Columbus of the East ". --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。

Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。

The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

==Gao Mingzhu 高明珠==
1、张骞出使西域这一历史事件具有特殊的历史意义。张骞对开辟从中国通往西域的丝绸之路有卓越贡献，至今举世称道。

Zhang Qian’s westward travel is of historic and special significance in Chinese history. Zhang Qian made excellent contributions to the opening of the Silk Road from China to “The Western Regions”, which is even praised by today’s world.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

2、陆路是中西往来的最古老的通道，其主要工具是马和骆驼。但牲畜负载有限，费用巨大。此外沿途自然条件艰险，安全没有保障。所以当航海技术发展起来以后，海路在中西交通中所起的作用越来越重要。

Land route is the oldest access between China and“The Western Regions” and the major transportation tools were horses and camels. However, the load of those livestock was limited and cost much. Besides, the natural environment along the land route was hard and dangerous, making travelers lost security assurance.Therefore, with the development of seamanship, sea route began to play an increasingly important role in the communications between China and “The Western Regions”. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

3、明万历年间，随着耶稣会传教士的到来，对中国的学术思想有所触动。传教士在传播基督教的教义同时，也传入大量科学技术。当时中国一些士大夫及皇帝接受了科学技术上的知识，但是在思想上基本没有受到影响。

During Wanli period of Ming Dynasty, as the coming of Jesuit missionaries in China, Chinese academic thought was slightly effected by western thought. At the same time of the spreading of Christian doctrines by those missionaries, a large amount of science and technology was introduced into China. Back then, Chinese emperor and some officials accepted knowledge of western science and technology,but their thought didn’t be influenced by the knowledge.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

4、洋务运动进行30多年虽然没有使中国富强起来，但洋务运动引进了西方先进的科学技术，使中国出现了第一批近代企业，在客观上为中国民族资本主义的产生和发展起到了促进作用。

The westernization movement which lasted for over 30 years did not make China become richer or stronger, but it introduced the advanced western science and technology which stimulated the emergence of the first modern enterprises, objectively promoting the emergence and development of Chinese national capitalism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:04, 27 December 2020 (UTC)

==Grosheva, Anna==

1. To Zhang's surprise, satisfied with their life, the Da Yuezhi people refused to make an alliance against the Huns.

令张某惊讶的是，大月之人对自己的生活感到满意，拒绝与匈奴结盟。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

2. He is thought to have become interested in Buddhist teachings later in life and died in India.

人们认为他晚年对佛教教义感兴趣，并在印度去世。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

3. This study analyzes four stages of the development of modern sports in Shanghai: germination, growth, thriving, and depression.

这项研究分析了上海现代体育发展的四个阶段：发芽，成长，繁荣和沮丧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

4. By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones.

到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在完成其他主要新地区的整合。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:27, 27 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

1.丝绸之路是我国古代一条连接中国和欧亚大陆的交通线路，由于这条商路以丝绸贸易为主，故称为“丝绸之路”。

The Silk Road is a traffic route in the ancienttimes connecting China and Eurasia. This trade route focuses on the trade of silk, hencethe name "theSilk Road".

2.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代路上商业贸易路线。狭义上讲指陆上丝绸之路。广义上讲分为陆上丝绸之路和海上丝绸之路。“陆上丝绸之路”形成于于公元前2世纪与公元1世纪间，直至16世纪仍保留使用，以西汉时期长安为起点(东汉时为洛阳)，经河西走廊到敦煌。“海上丝绸之路”形成于秦汉时期。

The "Silk Road" refers to the ancient commercial trade routes starting from China and connecting Asia,Africa and Europe.In a broad sense,it is divided intothe silk road on the land and silk road on the sea.The "land silk road"opened between the 2nd century BC and the 1st century AD and remained in use until the 16th century.It started from Chang'an in the Western Han Dynasty(or Luoyang in the Eastern Han Dynasty)to Dunhuang via the Gansu Corridor. The "silk road on the sea" formed in the Qin and Han Dynasty.

3.在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press deeplytransformed the traditional aesthetic mechanism from thecontent to the form. Then themodern press has facilitated the modern reforms of Chinese esthetics.

4.洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。

Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China.The Taiping movement accelerated the progress of
China's modernhistory andpromoted the Westernization movement.--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:18, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
1.尽管此次出使西域的主要目的并未完成，但是张骞充分了解了西域各地的风土人情，第一次给中国皇帝带回一了关于印度、中东以及欧洲诸国的消息。

Although the main objective of his expedition was not achieved，he documented the cultures and lifestyles of the peoples of the Western Regions，and for the first time，the Chinese emperor was informed about India，the Middle East and even some European countries.

2.郑和是中国明朝的宦官，也是一位航海探险家，他率领着满载瓷器的船队抵达了非洲和阿拉伯半岛，把长颈鹿带回了中国，同时也在东南亚航道的沿岸修建了城寨。

When Zheng He, the seafaring eunuch explorer of the Chinese Ming dynastic court, guided boats packed with porcelain to Africa and the Arabian Peninsula, he brought giraffes back to China and founded stockades along the shipping lanes of Southeast Asia.

3.“东学西渐”为欧洲启蒙运动送去了灵感，“西学东渐”也对中国和东方国家的文明产生了积极影响。

The introduction of the Chinese culture created inspiration for the Enlightenment in Europe, the Eastward spread of Western learning impacted positively on the Chinese and other Oriental civilizations.

4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。

Under the direction of modern-thinking Han officials, Western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to Western models.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 04:57, 28 December 2020 (UTC)

==Guirou, Barthelemy==

1. The Silk Road was an ancient network of trade routes, formally established during the Han Dynasty of China, which linked the regions of the ancient world in commerce between 130 BCE-1453 CE.

丝绸之路是一条古老的贸易路线网，在中国汉朝期间正式建立，它连接了公元前130年至1453年之间的古代世界贸易地区。

2. The maritime Silk Road was a conduit for trade and cultural exchange between China's south-eastern coastal areas and foreign countries. There were two major routes: the East China Sea Silk Route and the South China Sea Silk Route .

海上丝绸之路是中国东南沿海地区与外国之间进行贸易和文化交流的渠道。有两条主要路线：东中国海丝绸之路和南中国海丝绸之路。

3. The Westernization Movement, also called the Self-Strengthening Movement, was championed by some Qing government officials from the early 1860s to the middle 1890s. Its aim was to introduce Western technology and modern industrial equipment. This nationwide movement failed because its advocates were unwilling to disturb the status quo of the ruling class. The Sino-Japanese War, which began in 1804 and ended with the annihilation of China’s Beiyang Fleet, exposed the utter failure of the three-decade-long Westernization Movement. As a result, reform-minded Chinese had to seek new ways to save the nation.

自1860年代初至1890年代中期，一些清政府官员就发起了洋务运动，也被称为自强运动。其目的是引进西方技术和现代工业设备。这项全国性运动失败了，因为其拥护者不愿打扰统治阶级的现状。抗日战争始于1804年，结束于北洋舰队的歼灭。这场长达3年之久的洋务运动彻底失败了。结果，具有改革意识的中国人不得不寻求新的方法来拯救国家。--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:17, 27 December 2020 (UTC)

==Guo Lu 郭露==

1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。

The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the Silk Road.

The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)

2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)

3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.

4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。

The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)

==Ha, Thi Thu Hang==

1. In 139 BC, Zhang Qian traveled westward through the Xiongnu territory. He was captured and detained for over 10 years, yet he and his party escaped at last and resumed their journey toward the Darouzhi.

公元前139年，张潜西行穿越匈奴领土。他被捕并被拘留了十多年，但他和他的同伙终于逃脱了，恢复了前往大柔芝的旅程。

2. The Darouzhi had settled down in the rich and fertile Am River Valley, and their king had no wish to avenge his father’s death by attacking the Xiongnu.

达柔治人定居在肥沃的安姆河谷，他们的国王不希望通过袭击匈奴来为他的父亲报仇。

3. During the reign of Emperor Wu, Han sailboats succeeded in opening up a route to the Indian Ocean via the South China Sea, and conducted regular trade with coastal countries.

吴帝统治期间，汉帆船成功地开辟了一条经由南中国海通往印度洋的航线，并与沿海国家进行了定期贸易。--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 05:19, 28 December 2020 (UTC)

==He Changqi 何长琦==

==Hu Baihui 胡百辉==

==Hu Jin 胡瑾==

==Jiang Fengyi 蒋凤仪==

==Jiang Qiwei 蒋淇玮==
1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。

Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

The Maritime Silk Road was a maritime passage for communication and cultural exchanges between China and foreign countries in ancient times. Divided into two routes, the East China Sea and the South China Sea, with the South China Sea as the center. The Maritime Silk Road sprouted in the Shang and Zhou Dynasties, developed in the Spring and Autumn Period and Warring States Period, formed in the Qin and Han Dynasties, prospered in the Tang and Song Dynasties, and transformed in the Ming and Qing Dynasties. It is the oldest known maritime route. The Maritime Silk Road passes through more than 100 countries and regions. It is a major maritime channel for trade and cultural exchanges between China and foreign countries, and promotes the common development of countries along the route.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:40, 27 December 2020 (UTC)

3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。

The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。

The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of "self-improvement". In the later period, under the banner of "seeking wealth", lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

==Kang Haoyu 康浩宇==

==Lei Fangyuan 雷方圆==
1.人们通常讲"丝绸之路"的开端,都是从汉代张骞通西域开始,他的"凿空"事业居功至伟,标志着"丝绸之路"的正式开通。

People usually talk about the beginning of the "Silk Road", are from the Han Dynasty, Zhang Qian through the Western Regions began, his "chiseling" business is a great credit, marking the official opening of the "Silk Road".

2.在15世纪的明朝永乐时期,郑和七下西洋,将先进的中华物质文化、精神文化和政教文化远播海外,谱写了人类航海史上的新篇章,稳定了当时的东南亚国际秩序,开辟了中国—印度洋航路,将古代海上丝绸之路推向鼎盛。

In the 15th century, during the Yongle period of the Ming Dynasty, Zheng He made seven trips to the West, spreading advanced Chinese material, spiritual, political and religious culture overseas, writing a new chapter in the history of human navigation, stabilizing the international order in Southeast Asia at that time, opening up the China-Indian Ocean route, and bringing the ancient Maritime Silk Road to its heyday.

During the Yongle period of the Ming Dynasty in the 15th century, Zheng He made seven voyages to the West, spreading advanced Chinese material culture, spiritual culture, and political and religious culture abroad, writing a new chapter in the history of human navigation, stabilizing the international order of Southeast Asia at that time, and opening up The China-Indian Ocean Route pushed the ancient Maritime Silk Road to its peak.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

3.近代的西学东渐,对中国社会产生了广泛而深远的影响,改变了中国人对外部世界的认识。几乎所有的西学门类,以及各种各样的思潮、学说、观念都先后传入中国,在新与旧、古与今、中与外的碰撞中,中国的各种学术得到了极大的开拓和发展。

The Western learning in modern times had a wide and far-reaching impact on Chinese society and changed the Chinese people's understanding of the outside world. Almost all the Western disciplines, as well as all kinds of ideas, doctrines and concepts, were introduced to China one after another, and in the collision between the old and the new, the ancient and the modern, and the Chinese and the foreign, Chinese scholarship was greatly developed.

The spread of western learning in modern times has had a broad and far-reaching impact on Chinese society, and changed the Chinese people's understanding of the outside world. Almost all Western learning disciplines, as well as various ideological trends, doctrines, and concepts have been introduced to China. In the collision of new and old, ancient and modern, and China and foreign countries, various academic studies in China have been greatly developed. And development.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

4.洋务运动是我国近代教育史的开端,可以说,它不仅是对我国传统教育的一次重要变革,更是我国现代教育制度萌芽的一个重要时期。
The westernization movement is the beginning of China's modern education history, it can be said that it is not only an important change to China's traditional education, but also an important period for the sprouting of China's modern education system.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:17, 27 December 2020 (UTC)

The Westernization Movement is the beginning of modern education history in our country. It can be said that it is not only an important change to our traditional education, but also an important period of the germination of our modern education system.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 17:50, 27 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==

==Li Lili 李丽丽==
1.1417年，永乐皇帝下令郑和将使节送回国内。郑和和他的舰队再次回到海上启航，进行他的第五次远征（1417-1419）。他在许多相同的地方停留，包括爪哇岛、苏门答腊岛，还为他遇到的不同的统治者带来了信件和财富。

By 1417, the Yongle Emperor ordered Zheng He to return the envoys home. Once more back on the seas, Zheng He and his large fleet set sail for his fifth expedition (1417-1419). He stopped in many of the same places, including Java, Sumatra, and also brought letters and riches to the different rulers Zheng He met.

In 1417, Emperor Yongle ordered Zheng He to send the envoys back home. Zheng He and his fleet returned to sea again to set sail on his fifth expedition (1417-1419). He stopped at many of the same places, including Java and Sumatra, and also brought letters and wealth to the different rulers he met. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

2.海上丝绸之路从福建泉州开始, 是秦汉时期形成、三国时期发展到隋朝、盛唐宋朝、明清衰落的最早航程航线。

Starting from Quanzhou Fujian Province, the maritime Silk Road was the earliest voyage route that was formed in the Qin and Han dynasties, developed from the Three Kingdoms Period to the Sui Dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties.

The Maritime Silk Road began in Quanzhou, Fujian Province, and was the earliest voyage route formed during the Qin and Han dynasties, developed during the Three Kingdoms Period to the Sui dynasty, flourished in the Tang and Song dynasties, and fell into decline in the Ming and Qing dynasties. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

3.西学东渐不仅客观上促成了马克思主义哲学在中国的广泛传播, 构成了马克思主义哲学中国化的一个重要历史前提, 而且引发了中国哲学历史发展过程中的重大变革, 推动了中国哲学从古代传统向近代传统的转变。

The spread of Western learning to the East objectively promoted the dissemination of Marxist philosophy, forming an important historical precondition for its Sinicization. Moreover, it triggered a great transformation in the historical development of Chinese philosophy and facilitated its transition from an ancient to an early modern tradition.

The eastward spread of Western learning has not only objectively contributed to the widespread dissemination of Marxist philosophy in China, constituting an important historical premise for the Chineseization of Marxist philosophy, but also triggered a major change in the historical development of Chinese philosophy, promoting the transformation of Chinese philosophy from the ancient to the modern tradition. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

4.鸦片战争、不平等条约和19世纪中叶的大规模起义的残酷现实，使清朝朝臣和官员认识到壮大中国的必要性。自19世纪40年代以来，中国学者和官员一直在研究和翻译“西学”。

The rude realities of the Opium War, the unequal treaties, and the mid- 19th century mass uprisings caused Qing courtiers and officials to recognize the need to strengthen China. Chinese scholars and officials had been examining and translating "Western Learning" since the 1840s.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:05, 25 December 2020 (UTC)

The harsh realities of the Opium War, the unequal treaties, and the mass uprisings of the mid-19th century made courtiers and officials of the Qing Dynasty realize the need to strengthen China. Since the 1840s, Chinese scholars and officials had been studying and translating "Western Learning". --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:29, 25 December 2020 (UTC)

==Li Liqin 李丽琴==

1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。

Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of "One Belt And One Road", which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。

Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism. Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。

Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)

4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。

The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)

==Liu Liu 刘柳==

1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。

Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。

The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.

4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)

==Liu Ou 刘欧==

==Liu Yi 刘艺==

==Liu Yiyu 刘怡瑜==

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。

The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。

Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。

Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。

Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。
A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。
Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.

3.西学东渐是指近代西方学术思想向中国传播的历史过程。
The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times.

4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。
Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:28, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==

1.传统的丝绸之路，起自中国古代都城长安，经中亚国家、阿富汗、伊朗、伊拉克、叙利亚等而达地中海，以罗马为终点。

The traditional silk road starts from Chang'an, the ancient capital of China, and reaches the Mediterranean Sea through Central Asian countries, Afghanistan, Iran, Iraq, Syria, etc. with Rome as the end point.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

2.在地文航海技方面，郑和下西洋的地文航海技术，是以海洋科学知识和航海图为依据，运用了航海罗盘、计程仪、测深仪等航海仪器，按照海图、针路簿记载来保证船舶的航行路线。

In terms of geographical navigation technology, Zheng He's geographical navigation technology was based on marine scientific knowledge and nautical charts. He used navigational instruments such as compass, log and depth sounder to ensure the navigation route of the ship according to the records of charts and needle books.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。

After the Sino Japanese War, because China was facing with the fate of national destruction, many people of insight began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

4.经过两次鸦片战争的失败，以及太平天国的打击，清朝内外交困，清朝的一部分官僚开始认识到西方坚船利炮的威力。为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。

After the defeat of the two Opium Wars and the attack of the Taiping Heavenly Kingdom, the Qing Dynasty was beset by internal and external troubles, and some of the bureaucrats in the Qing Dynasty began to realize the power of the western strong ships and cannons. In order to relieve domestic and foreign troubles, enrich the country and strengthen the army, and maintain the rule of the Qing Dynasty, they began to learn western culture and advanced technology.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:28, 27 December 2020 (UTC)

==Mo Ling 莫玲==

1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)

2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。

The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's "western" voyage.

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.

Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．

Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling

Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==
1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。

In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.

2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。

Zheng He's voyages are mainly to carry out trade activities, during which they took "tribute trade" as the basic activity, and at the same time promoted "official trade" and "non-governmental trade".

3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.

4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。

During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)

1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.

2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.

3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.

4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting

==Peng Ruihong 彭锐宏==

==Phyo, Su Kyi==
1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。

Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.

Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)

3-西方的儒道教说，为中西文化交流做出了贡献。

The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.

The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。

The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi

The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

==Pingki, Tanchangya==
1.张谦被认为是中国民族英雄，并因他在使中国向更广阔的商业贸易世界开放方面所发挥的关键作用而受到崇敬。张干对西部地区的访问导致了丝绸之路的开通。

Zhang Qian is considered a Chinese National hero and revered for the key role he played in opening China to the wider world of commercial trade. Zhang Qian's missions to The Western regions led to the opening of the silk road.

2.郑和（1371-1433）生于云南昆阳的马禾（三宝），常被称为太监三宝。

Zheng He (1371-1433),born Ma He (Sanbao) in kunyang of Yunnan, was often called Eunuch Sanbao.For his meritorious service, he received the name Zheng He from Emperor Yongle.

3.郑和被任命为海军上将，控制着62艘船和27,800名船员，船队中载有一定量的黄金，丝绸和其他贵重物品。他的舰队访问了亚洲和非洲的30多个国家。

Zheng He was placed as the admiral in control of the 62 ships and 27,800 crewmen, which fleet placed carried a amounts of gold, silk and other precious Goods. His fleet visited more than 30 countries in Asia and Africa.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:29, 28 December 2020 (UTC)

==Qu Miao 瞿淼==
1、丝绸之路是起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线，最初的作用是运输古代中国出产的丝绸、瓷器等商品，后来成为东方与西方之间在经济、政治、文化等诸多方面进行交流的主要道路。

The Silk Road was an ancient overland commercial and trade route connecting Asia, Africa and Europe that started from ancient China. Its initial function was to transport commodities such as silk and porcelain produced in ancient China. Later, it became the main road for economic, political and cultural exchanges between the East and the West.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

2、郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用；郑和本人，也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。晚清以降，郑和研究获得迅速发展，但不少重要课题仍无定论。

Zheng He's voyages to the West were an unprecedented feat in the maritime history of the world at the beginning of the 15th century, which played a positive role in the economic and cultural exchanges between China and foreign countries. Zheng himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and memory of the world. Since the late Qing Dynasty, the study of Zheng has achieved rapid development, but many important issues are still not conclusive.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

3、徐光启，上海人，是自李时珍后的明代又一位杰出的科学家。他生于嘉靖41年即公元1562年，父亲是个小商人，家里有一点土地，但日子过得并不宽裕，所以徐光启从小就从事农业生产劳动，这对他后来的成长有很大影响。

Xu Guangqi, a Native of Shanghai, was another outstanding scientist in the Ming Dynasty after Li Shizhen. He was born in 1562, the year of the 41st emperor jiajing. His father was a merchant and his family had a little land, but his life was not very well-off. Therefore, Xu Guangqi was engaged in agricultural production and labor from an early age, which had a great influence on his later growth.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

4、曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。

Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:39, 27 December 2020 (UTC)

==Rajabov, Anushervon==

==Seydou, Sagara==

==Shi Haiyao 石海瑶==
1.丝绸之路促进了中外经济文化的交流，也密切了汉族与沿途的其他少数民族的关系，促进了我国西北地区的开发。

The Silk Road has enhanced economic and cultural exchanges between China and foreign countries, as well as closer relations between the Han nationality and other minorities along the route, and promoted the development of the northwest China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

2.21世纪海上丝绸之路的战略合作伙伴并不仅限与东盟，而是增进同沿边国家和地区的交往，串起连通东盟、南亚、西亚、北非、欧洲等各大经济板块的市场链，发展面向南海、太平洋和印度洋的战略合作经济带，以亚欧非经济贸易一体化为发展的长期目标。

The strategic partners of the Maritime Silk Road in the 21st century are not only limited to ASEAN, but also to promote exchanges with countries and regions along the border, linking the market chains of ASEAN, South Asia, West Asia, North Africa, Europe and other major economic sectors, and developing a strategic cooperative economic belt for the South China Sea, the Pacific Ocean and the Indian Ocean, with Asia-Europe and Africa economic and trade integration as the long-term goal of development.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

3.发生在明末清初并且延续到清朝中叶，伴随着耶稣会士来华传教而展开的西方科技传入中国的历史事件，被称为西学东渐第一波。它给中国科技发展带来了全新的可能性。

The historical event of the introduction of Western science and technology into China, which took place in the late Ming and early Qing dynasties and lasted until the middle of the Qing dynasty, accompanied by the Jesuits' mission to China, is known as the first wave of The Eastward Spread of Western Learning. It brings new possibilities to the development of science and technology in China.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

4.洋务运动虽然有种种缺陷和弊端，但主要历史作用是积极的，是中国近代史上的一次进步运动。它促进了民族资本主义的发展，延缓了而不是加速了中国半殖民地化的进程。

Although the Westernization Movement has various defects and drawbacks, its main historical role is positive. As a progressive movement in the modern history of China, it promoted the development of national capitalism and delayed rather than accelerated the process of China's semi-colonization.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 14:10, 27 December 2020 (UTC)

==Si Yu 司妤==

==Tan Yuanyuan 谭媛媛==

==Tang Bei 汤蓓==

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。

Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。

The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。

Some enlightened people in the Qing government adopted a series of measures for "self-improvement" and "seeking wealth" in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

==Wang Xuan 王轩==
1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。
Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.

Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。
At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.

At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)

3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。
During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.

During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。
With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.
--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan

With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

==Wu Qiong 吴琼==

==Wu Yilu 吴一露==

==Wu Zijia 吴子佳==

==Xiao Shuangling 肖双玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。

1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

2.The "maritime Silk Road" is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.

3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。

3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。

4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of "self-improvement", the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.2100多年前，中国汉代的张骞两次出使中亚，开启了中国同中亚各国友好交往的大门，开辟出一条横贯东西、连接欧亚的丝绸之路。千百年来，在这条古老的丝绸之路上，各国人民共同谱写出千古传诵的友好篇章。

The Silk Road first emerged more than 2,100 years ago during the Han Dynasty (206 BC-AD 24) after China's imperial envoy Zhang Qian twice visited Central Asia. It became a bridge between East and West, opening the door to friendly engagement between China and Central Asia. For two millennia, countless tales of everlasting friendship between peoples have been woven into this ancient network.

2.中国走的是一条和平发展之路。作为拥有五千年文明积淀的东方大国，中国人历来崇尚以和为贵，从来就没有对外扩张的基因。600多年前，郑和率领当时世界上最强大的船队七次远航太平洋和西印度洋，到访30多个国家和地区，没有侵占一寸土地。这对于当年热衷于殖民扩张的西方国家来说，简直是不可思议，但中国确实做到了。

China follows a path of peaceful development. China is a big country in the East with a five-thousand-year civilization. The Chinese believe in peace. There’s not a single bone of making external expansionism in the body of the Chinese. As early as over six hundred years ago, the Chinese navigator Zheng He led the biggest fleet in the world to the Pacific and west Indian Oceans on seven expeditions, visiting over thirty countries and regions, not taking a single inch of land. That was actually quite inconceivable for those Western powers who were busy making colonial expansion, but the Chinese did that.

3.在19世纪的西学东渐中，基督新教的教士也开始进入中国，天主教士也随口岸的开放来往各地，他们成立教会学校、医院，并开设印书馆、设立期刊、并译著大量各种书籍。对于西学的传入有很大贡献。

In the 19th century, Protestant priests also began to enter China, and Catholics also came with the opening of the ports. They established schools and hospitals, printed books, set up periodicals, and translated a large number of books. They contributed greatly to the Eastward Spread of Western learning。

4.在新航路的开辟，文艺复兴，宗教改革运动，资产阶级革命，产业革命的推动下，至洋务运动发生时，资本主义世界体系已初步完成，人类进入了一个新时期，这也是历史发展的必然。

Driven by the opening of new routes, the Renaissance, the Reformation, the bourgeois revolution, the industrial revolution, and by the time of the foreign affairs movement, the capitalist world system had been initially completed and mankind had entered a new period, which was a natural development of history.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:04, 27 December 2020 (UTC)Xiao Ting

==Xie Fan 解帆==
1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。

Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。

The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

==Xu Jia 徐佳==

1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。

The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。

The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。

The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history moving forward, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting

4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。

The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

The Westernization Movement established the first bunch of modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:09, 27 December 2020 (UTC)Xiao Ting

==Xu Jing 许静==
1.今人回顾历史，“张骞通西域”已是一段家喻户晓的美谈，张骞也成为历史记载的第一位出使西域的中原人。

As we look back on history, the story of Zhang Qian's visit to the Western Regions is a well-known story, and Zhang Qian became the first Chinese to travel to the Western Regions in history.

2.海上丝绸之路的极盛时期出现在元明两代，明代早期的郑和曾经七次下西洋。这种密切交流一直持续到明代中期。后来，清政府采取了闭关锁国的政策，才让海上丝绸之路失去了夺目的光彩。

The heyday of the Maritime Silk Road came during the Yuan and Ming Dynasties, when Zheng He made seven trips to the West in the early Ming Dynasty. This close exchange continued until the mid-Ming Dynasty. It was only later that the Qing government adopted a policy of seclusion that caused the Maritime Silk Road to lose its dazzling lustre.

3.西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。

Although the Eastward Spread of Western Learning can also be used to refer to the introduction of Western ideas into China from ancient times to the present day, it is usually used to refer to the introduction of European and American ideas during the late Ming and early Qing dynasties and the late Qing and early Republican periods.

4.洋务运动直接继承了林则徐、魏源的“中学为体、西学为用”的学西方思想，并把这种思想付诸实践，所以洋务运动开始是顺应历史潮流的，只是在后来发展过程中，应该继续变革而不去变革，致使其以违反历史潮流而结束。

The Westernization Movement directly inherited Lin Zexu's and Wei Yuan's idea of learning from the West, and put this idea into practice, so it was in line with the historical trend at the beginning, but later in the process of development, it should have continued to change but did not do so, resulting in the end of the movement against the historical trend. --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 04:18, 28 December 2020 (UTC)

==Yang Chenting 杨晨婷==

1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。

1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang.

The Silk Road Economic Belt is a new economic development region based on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)

The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)

2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。

2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.

The Maritime Silk Road was an ancient maritime channel for communication and cultural exchanges between China and foreign countries. It was also called the "Sea Ceramic Road" and "Sea Spice Road". It was first mentioned in 1913 by the French orientalist Shawan.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)

3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。

3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.

Western learning refers to the historical process of the dissemination of Western academic thought to China from the end of the Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things from ancient times to the present time into China, it usually refers to the end. During the early Qing Dynasty and the late Qing Dynasty and the early Republican period, academic ideas were introduced into Europe and the United States.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:30, 27 December 2020 (UTC)

4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。

4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting

==Yang Hairong 杨海容==

1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。

After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

After the middle of Ming Dynasty, the government adopted the policy of self-seclusion. At the same time, the shipbuilding technology and navigation technology developed continuously, and the maritime transportation replaced it, which made the Silk Road trade decline in an all-round way.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)

2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。

Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

Matteo Ricci spread the Western knowledge of geometry, geography and humanism to the Chinese society, which opened the atmosphere for the literati to learn western learning in the late Ming Dynasty.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:55, 27 December 2020 (UTC)

==Yang Hui 阳慧==

==Yang Yue 杨悦==
1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。

The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

The Silk Road passes through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road has been the most important route for exchanges between East and West. Although it is called the Silk Road, the goods people trade are not just silk. Both Xuanzang and Marco Polo kept detailed records of their Silk Road journey. --[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)

2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。

Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

As one of China's most famous explorers,Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:11, 27 December 2020 (UTC)

3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

The modern newspapers and periodicals that emerged in the tide of western learning changed the traditional aesthetic mechanism, and caused a fundamental change in aesthetics from content to form, thus contributing to the modern transformation of Chinese aesthetics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 17:31, 27 December 2020 (UTC)

4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。

Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
1. 张骞是丝绸之路的开拓者，被誉为“第一个睁开眼睛看世界的中国人”。他将中原文明传播至西域，又从西域诸国引进了汗血马、葡萄、苜蓿、石榴、胡麻等物种到中原，促进了东西方文明的交流。
Zhang Qian is a pioneer of the Silk Road, known as "the first Chinese to open his eyes to see the world". He spread the civilization of the Central Plains to the western regions, and introduced species such as Ferghana horse, grapes, alfalfa, pomegranates and flax to the Central Plains, which promoted the exchange of eastern and Western civilizations.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

2. 郑和每下西洋都带着一支威武雄壮的仪仗队，每到一国登陆时，前呼后拥，彩旗飘扬，服饰灿烂，刀光剑影，使人望而生畏，从而展示中国的富强。
Every time Zheng He went to the west, he carried a powerful and majestic guard of honor. When he landed in a country, he was surrounded by people, with colorful flags flying, splendid costumes and swords, which made people awe at the sight and showed China's prosperity.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

3. 西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。其虽然亦可以泛指自上古以来一直到当代的各种西方事物传入中国，但通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。
The spread of Western learning to the East refers to the historical process of the spread of western academic thoughts to China from the late Ming Dynasty to modern times. Although it can generally refer to the introduction of various Western things into China from ancient times to the present, it usually refers to the introduction of academic ideas from Europe and the United States in the late Ming and early Qing Dynasties and the late Qing and early Republic of China.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

4. 在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。
At the initiative of Zeng Guofan, China's first ship was built, the first military academy was established, the first batch of Western books was printed and translated, and the first batch of students was arranged to study in the United States.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:51, 28 December 2020 (UTC)

==Yi Zichu 义子楚==
1公元前2世纪，中国就开始开辟通往西域的丝绸之路。汉代使节(envoy)张骞于公元前138年和 119年两次出使西域。
In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively.

In the 2nd century BC, China began working on the Silk Road leading to the Western Regions. In 138 BC and 119 BC, envoy Zhang Qian of the Han Dynasty made a trip to these regions respectively.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

2，西汉时期,中国的商船队就到达了印度和斯里兰卡(Sri Lanka),用中国的丝绸换取了琉璃(colored glaze)、珍珠等物品。
In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.

In the Western Han Dynasty, China's merchant fleets sailed to as far as India and Sri Lanka to trade China's silk for colored glazes, pearls and other products.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

3，唐代是中国历史上对外交流的活跃期。据史料记载，与唐代通使交好的国家多达70多个,那时候的首都长安云集了来自各国的使臣、商人和留学生。这种大交流使中华文化远播世界,也促进了各国文化和物产传入中国。
The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, th Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. 'Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.

The Tang Dynasty saw dynamic interactions between China and other countries. According to historical documents, the Tang Dynasty exchanged envoys with over 70 countries, and Chang' an, the capital of Tang, bustled with envoys, merchants and students from other countries. Exchanges of this magnitude helped the spread of the Chinese culture to the rest of the world and the introduction of the culture and products from other countries into China.--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 04:56, 28 December 2020 (UTC)

==You Yuting 游雨婷==

1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过"丝绸之路"迅速向四周传播。

Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".

2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。

Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。

The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.

4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。

Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)

1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

==Yu Ni 余妮==

1."海上丝绸之路"是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The "South China Sea Silk Road" is also known as the Maritime Cultural Communication Center of China. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

2.郑和下西洋是中国古代规模最大、船只最多（240多艘）、海员最多、时间最久的海上航行，比欧洲国家航海时间早几十年，是明朝强盛的直接体现。

Zheng He's voyages to the West were the largest, the largest number of ships (more than 240), the largest number of seafarers and the longest voyages in ancient China. They were decades earlier than those of European countries. They were the direct manifestation of the prosperity of the Ming Dynasty.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

3.明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。

During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period. Missionaries not only spread Christian doctrine, but also introduced a lot of science and technology.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

4.洋务运动的最根本的指导思想是"自强"、"求富"。其分类思想就是"师夷制夷" 、"中体西用" 八个字。前四个字"师夷制夷" 表明洋务运动与外国资本主义侵略者的关系，即学习西方的长技用以抵制西方的侵略。

The most fundamental guiding ideology of Westernization Movement is "self strengthening" and "seeking wealth". Its classification thought is "learning from foreigners, controlling foreigners" and "Chinese style and western use". The first four words "learning from foreigners and controlling foreigners" indicate the relationship between the Westernization Movement and foreign capitalist invaders, that is, learning from Western long-term skills to resist Western aggression.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 11:06, 27 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。

The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，

The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

==Zeng Liang 曾良==
1.公元前123年，张骞随大将军卫青出使匈奴，在他的引导下，平息了多年来北方匈奴对汉王朝的骚扰，张骞因此被封为博望侯。

In 123 B. C. , Zhang Qian followed General Wei Qing in a major military raid against the Xiongnu. His guidance led to a number of victories, which succeeded in ending the harassment by the Xiongnu of the Han Dynasty. Zhang Qian was therefore conferred the title of Marquis of Bowang.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

In 123 B.C., Zhang Qian accompanied the great general Wei Qing on a mission to the Xiongnu. Under his guidance, the Xiongnu harassment of the Han dynasty in the north for many years was quelled, and Zhang Qian was thus made the Marquis of Bowang.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

2.郑和的船队由三百艘大船及三万多名水兵组成，船队中最大的一艘船被称为“宝船”，其船身长达133米，船桅多达九根，可搭载一千人。郑和和汉人与穆斯林船员一起打开了中国在非洲、印度及东南亚的贸易航线。

Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels, 133-meter-long “treasure ships”, had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

Zheng He's fleet consisted of 300 ships and more than 30,000 sailors, the largest ship in the fleet was called the "treasure ship", with a hull length of 133 meters and as many as nine masts, which could carry 1,000 people. Zheng He and the Chinese and Muslim crews together opened up Chinese trade routes in Africa, India and Southeast Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

Zheng He’s fleet had more than 300 ships and 30,000 sailors. The largest vessels(also called “treasure ships”),133-meter-long ,had up to nine masts and could carry a thousand people. Along with a Han and Muslim crew, Zheng opened up trade routes in Africa, India, and Southeast Asia.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:26, 25 December 2020 (UTC)

3.清末时，在“西学东渐”浪潮的冲击下，传统儿童教育踏入近代的门槛。

In late Qing dynasty, impacted by the wave of “ The Eastward Spread of Western Learning”, traditional children education stepped into the threshold of modern education. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

At the end of the Qing Dynasty, under the impact of the wave of "Western learning", traditional children's education entered the threshold of modern times.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

4.西进运动促进了农业、工业、交通业的飞速发展，也促进了美国城市化的进程。

The Westernization Movement promoted the rapid devepment of agrilucture, industry, transportation and the urbanization process of the United States as well. --[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:29, 25 December 2020 (UTC)

The westward movement contributed to the rapid development of agriculture, industry, and transportation, as well as to the urbanization of the United States.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:00, 25 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

丝绸之路是汉唐千余年间中外经济、文化交流的重要通道，为汉朝的强大，乃至整个中华民族的强大奠定了坚实的基础。
Silk Road, a significant path of economic and cultural exchanges between China and foreign countries during the Han and Tang Dynasty, which lasted for over thousand years, laying a solid foundation for greatness of the Han Dynasty, and even that of the whole Chinese nation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

回望历史，浩浩荡荡，郑和七下西洋堪称中国“海上丝绸之路”最壮丽的诗篇，也是人类航海史第一个高峰。
Looking back at the history, Zheng He’s seven voyages to the wast was the most magnificent poem of China’s “Maritime Silk Road”, as well as the first peak in the history of human navigation.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。
After the Opium War, their basic idea was to understand the situation of foreigners and "learn from the advanced technologies in the West in order to resist the invasion of the Western powers.”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。
Westernization Movement, also known as self-improvement movement, was a self-saving movement that westernization school in the late Qing Dynasty introduced western military equipments, machine production, science and technology to save the rule of Qing Dynasty from 1860s to 1990s.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 12:25, 27 December 2020 (UTC)

==Zhang Hui 张慧==

==Zhang Ling 张玲==

1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。

The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the "Silk Road". --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。

In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。

After the Sino-Japanese War of 1894-1895, many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。

In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of "self-improvement" and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

In the early stage of Westernization Movement, under the banner of "self-improvement",the School of Westernization adopted advanced western production technology and established a number of modern military industries.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==

==Zhang Weihong 张维虹==

1. 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The overland Silk Road originated in the Western Han Dynasty (202-8 years ago). Emperor Wu of the Han Dynasty sent Zhang Qian to the Western Regions to open up an overland route starting from the capital Chang'an (now Xi'an), passing through Gansu and Xinjiang, to Central and West Asia, and connecting Mediterranean countries.

2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险

Zheng He's voyage to the West was the largest sea voyage in ancient China with the largest number of ships and sailors and the longest time. It was also the largest series of sea explorations in world history before the voyage of the great geographical discovery in Europe at the end of the 15th century.

3. 尽管如此，纵观中国近代西学东渐的历史,它的成就是巨大的。虽然经历了由表及里、由浅入深的艰难探索和吸收过程,但毕竟使中国的近代化历程大大加速,客观上加快了清王朝灭亡的脚步,为中国早日推翻一个旧世界,建立一个新世界奠定了基础。但墨守成规、亦步亦趋的学习心理使中国的每一步学习都事倍功半,成效大打折扣.学习中的'一边倒'现象和盲目照搬现象使中国的西学东渐走了许多弯路,学习中的'急功近利'思想也是造成西学东渐成效甚微的重要原因。

In spite of this, looking at the history of the spread of western learning to the east in modern China, its achievements are huge. Although it has gone through a difficult process of exploration and absorption from the outside to the inside and from the shallow to the deep, it has greatly accelerated China's modernization process, objectively accelerated the pace of the demise of the Qing Dynasty, and laid a foundation for China to overthrow an old world and establish a new world as soon as possible. However, the learning psychology of sticking to the rules and following the same trend makes every step of China's learning get twice the result with half the effort and the effect is greatly reduced. The phenomenon of "one-sided" and blind copying in learning have led to many detours in the spread of western learning to the east in China, and the thought of "eager for quick success and instant benefits" in learning is also an important reason for the little effect of the spread of western learning to the east.

4. 洋务运动后期，洋务派为解决军事工业资金、燃料、运输等方面的困难，打出“求富”的旗号，兴办了一批民用工业。

In the late period of the Westernization Movement, in order to solve the difficulties in capital, fuel and transportation of military industry, the Westernization Movement set up a number of civilian industries under the banner of "seeking wealth".
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 03:18, 28 December 2020 (UTC) Zhang Weihong

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。

Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。

Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

==Zhang Yujie 张毓婕==
1.东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。

The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk produced in ancient China.

2.海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”

The Maritime Silk Road was a maritime passage for communication, trade and cultural exchanges between China and foreign countries in ancient times. It was also called the "Maritime Ceramic Road" and the "Sea Spice Road".

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。

The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times.

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

The Westernization Movement, also known as the self-improvement movement. It was a self-rescue movement carried out by the Westernization School in the late Qing Dynasty from the 1860s to the 1990s to bring in Western military equipment, machine production, and science and technology to save the Qing Dynasty.

==Zhang Yuxing 张宇星==

1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。

Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the "Silk Road" spread rapidly around.

2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.

3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.

4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。

The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。

Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Silk Road refers to the ancient land trade route which originated from ancient China and connected Asia, Africa and Europe.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。

Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Maritime Silk Road is the sea route through which ancient China traded and did cultural exchanges with foreign countries. This Silk Road centered on the South China Sea, thus being called the South China Sea Silk Road as well.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Eastward Spread of Western Learning refers to the historic course of the spread of western academic thought to China from the end of Ming Dynasty to the modern times.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

Westernization Movement, also known as Self-strengthening Movement, was a self-helping movement carried out by the westernization group of the late Qing dynasty from the 1860s to 1990s for introducing Western military equipment, machine production and science and technology to China to save the Qing government.--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:23, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==

==Zhou Yiwen 周艺文==

1.张骞到大宛后，向大宛国王说明了自己出使月氏的使命和沿途种种遭遇，希望大宛能派人相送，并表示今后如能返回汉朝，一定奏明汉皇，送他很多财物，重重酬谢。大宛王本来早就风闻东方汉朝的富庶，很想与汉朝通使往来，但苦于匈奴的中梗阻碍，未能实现。汉使的意外到来，使他非常高兴。

After arriving in Dayuan, Zhang Qian explained to the king of Dawan his mission and experiences along the way, and hoped that Dawan could send men to escort him to the Darouzhi. He also said that if he could return to the Han Dynasty in the future, he would tell the emperor of Han and implore him to send a lot of wealth and rewards to the The the king of Dawan. The King of Dawan had long heard of the wealth of the Han Dynasty and wanted to communicate with Han, but he failed to do so because of the hindrance from the Xiongnu. The unexpected arrival of han Emissary made him very happy.

2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

Zheng He's expeditions were the largest in ancient China, with the largest number of ships and sailors and the longest time. They were also the largest series of maritime expeditions in the history of the world before the voyages of European geographical discoveries at the end of the 15th century.

3.此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。传教士在传播基督教的教义同时，也传入大量科学技术。

At this time, western science and technology began to develop rapidly, while the development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time. Missionaries spread the Christian doctrine, but also spread a lot of science and technology.

4.为了解除内忧外患，实现富国强兵，以维护清朝统治，开始学习西方文化及先进的技术，这样一部分人被称为洋务派。

In order to relieve domestic troubles and foreign invasion, enrich the country and strengthen the army to maintain the rule of Qing dynasty, some people began to learn Western culture and advanced technology, so they were called westernization Group.--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==

1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。

1.Zhang Qian made two missions to the Western Regions, opening up land transportation between China and Central Asia, West Asia, South Asia, and even to Europe. From then on, the Chinese used this channel to sell silk, tea, lacquerware and other products to the Western Regions and Central Asia. At the same time introduce gems, glassware and other products from Europe, West Asia and Central Asia.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

2.郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

2.Zheng He's voyage to the West was the largest sea voyage in ancient China, the largest number of ships and seafarers, and the longest time. It was also the largest series of sea expeditions in the history of the world before the voyage of the great geographical discovery in Europe at the end of the 15th century.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。其虽然亦可以泛指自上古以来一直到当代的各种西方事物传入中国，但通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。

3.The spread of Western learning to the east refers to the historical process of the spread of Western academic thought to China from the late Ming Dynasty to modern times. Although it can also generally refer to the introduction of various Western things into China from ancient times to the present, it usually refers to the academic thoughts in Europe and the United States during the two periods of the late Ming and early Qing and the late Qing and the early Republic. Incoming.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

4.洋务运动的内容之一是创办新式学校，选送留学生出国深造，培养翻译人才、军事人才和科技人才。1862年在北京设立的京师同文馆，就是中国最早的官办新式学校。

One of the contents of the Westernization Movement was to establish new schools, select and send overseas students to study abroad, and train translators, military talents and scientific and technological talents. The Jingshi Tongwenguan, established in Beijing in 1862, was the earliest government-run new school in China.--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:00, 28 December 2020 (UTC)

==Zhu Meimei 祝美梅==

不仅是中国与这些国家进行交流，通过丝路，印度、东南亚、中东、非洲和欧洲之间的贸易交流也迅速活跃起来。

The Silk Road not only deepen exchanges between China and these countries, but also gave an impetus to trades between India, Southeast Asia, the Middle East, Africa and Europe.

郑和下西洋的路线，被称为海上丝绸之路，那是一条向往陌生的海岸线的开放之路。

The sailing routes of Zheng He, also known as the Maritime Silk Road, was an open road symbolizing people's aspiration to unfamiliar coastlines.

明末清初,西方传教士来华传教,掀起了西学东渐的第一次高潮。

In the late Ming and early Qing dynasty, lots of western missionaries came to China , which brought the first upsurge of the Eastward spread of Western learning.

洋务运动的主要人物具有典型性和代表性的是张之洞和李鸿章。

The main figures of the Westernization Movement are Zhang Zhidong and Li Hongzhang.--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:06, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。

The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。

The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。

Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

1.Today, Zhang Qian's travels are associated with the major route of transcontinental trade, the Silk Road. His missions opened trade routes between East and West and exposed different products and kingdoms to each other through trade.

今天，张谦的旅行与跨大陆贸易的主要路线“丝绸之路”相关。他的任务打开了东西方之间的贸易路线，并通过贸易使不同的产品和王国相互接触。 --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

2.Zheng He generally sought to attain his goals through diplomacy, and his large army awed most would-be enemies into submission. However, a contemporary reported that Zheng He "walked like a tiger" and did not shrink from violence when he considered it necessary to impress foreign peoples with China's military might.

郑和通常试图通过外交来实现自己的目标，他的大部队敬畏大多数可能成为敌人的敌人。然而，当代报道说，郑和“走得像老虎一样”，当他认为有必要用中国的军事力量打动外国人民时，并没有因为暴力而退缩。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

3.With the Jesuits coming to China to preach, the historical event of the introduction of Western science and technology into China was called the first wave of the introduction of Western learning to the East.

随着耶稣会士来到中国讲道，西方科学技术传入中国的历史性事件被称为第一波西方知识向东方传入的浪潮。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

4.By the time the Europeans launched an intensive drive to incorporate China at the beginning of the 1840s, the capitalist world economy was already completing the incorporation of other major new zones into its division of labour.

到1840年代初欧洲人开始大力整合中国时，资本主义世界经济已经在将其他主要的新地区纳入其劳动分工中。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 18:25, 27 December 2020 (UTC)

20201215 cultexam 2

2020-12-21T07:43:54Z

PINGKI TANCHANGYA 4: /* Terms and Expressions */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advanced culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historical mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of the Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of the socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising,communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:

1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281)

3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)

===Historical Values===
1. The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)

3. Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)

5. The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

6. The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

7. The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设'' BeiJing Planning Review (04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.

Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.

Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:14, 20 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号202070080639 MTI 英语口译==

===Four satirical novels in ancient China===

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.

The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&fromid=10570148&fr=aladdin)

====Introduction====

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.

The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.(wenku)

==== Nie Hai Hua====

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.

The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.

As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.(wenku)

==== the Travels of an Old Man====

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.

The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.(wenku)

==== The Records of Officialdom Exposure====

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.

The novel consists of more than 30 relatively independent bureaucratic stories linked together, involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.

The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.(wenku)

==== 20 years witness strange present situation====

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.

The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.

The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.(wenku)

==== Conclution====

As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===

*[1]https://baike.baidu.com/item/晚清四大谴责小说/702907?fromtitle=四大谴责小说&fromid=10570148&fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI ==

====The Origin of Shadow Play====
Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

====Introduction====

[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".（Zhu Hengfu 2020,36）

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3.What does a red head stand for in a play?
*4.When is shadow play put in the "Representative List of Intangible Cultural Heritage of Humanity".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is a symbol of a heroic and upstanding character.
*4.On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

===Introduction ===

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

=== Analysis of Confucian Culture ===

==== Intelligence Development ====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

====Spiritual Guidance ====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

====Order Construction ====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

===The Contemporary Value of Confucian Culture ===

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

====Ideological and Political Education ====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

==== Modern Economic Construction====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection." It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

==== Legal Construction ====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

===The Confucius Institute ===

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

===Terms and Expressions ===

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

===Questions ===

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

===Answers===

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

===References===

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56.

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68.

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83.

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33.

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43.

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 07:36, 21 December 2020 (UTC)

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====

The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)

The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)

====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. (Li Xieping1997, (04)29-31)

“ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. (Li Xieping1997, (04)29-31)

Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)

In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14)

In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. (Yu Zhuoyun1984,30)

In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin & Qu Wanlin 2006, 11.7)

====IV.The Structure of the Forbidden City====

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes
Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(Xie Li 2005,(03)100-102)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. (Website:The Collection of the Palace Museum )

Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12)

====Six Procedures====

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)

Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235)

Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235)

Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235)

What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235)

Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235)

Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

====Customs====

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)

After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)

The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

====Development====

As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)

Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling

====References====

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

====Terms and Expressions====

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

====Questions====

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

====Answers====

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==
<center> Ouyang Ling 欧阳玲 </center>
===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people.

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6).

Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7).

There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

====Folk Culture and Belief ====

The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35).

And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641 英语口译==

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

====Performing====

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===
Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004
,Major: Comparative Literature and cross culture studies.

1. Introduction

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

3. The Dragon Dance

The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.
Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.

4. The lion Dance

The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.
In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.

4.1 The Southern Lion Dance

The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.

4.2 The Northern Lion Dance

The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)

5. Conclusion

"Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.

===Terms and Expressions===
1.Han Dynasty 汉朝。

2.Traditional dance history 传统舞蹈史。

3.The lion Dance 舞狮。

4.The Dragon Dance 龙舞。

5.Lianxing 联兴。

6.Chinese Dance 中国舞。

7.Festivals 节庆。

6. Questions:

1. What is lianxing?
2. What is the Dragon Dance? Have you seen it before? And Where?
3. The dragon Dance originated from where?
4. what Lion Dances Symbolized?
5. How many Chinese Traditional Dance names you know?

Answers:

1."Lianxiang" is generally a traditional dance that is quite popular in lots of regions.
2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.
3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.
4 The lion dance performed at Chinese festivals and
“Lion” symbolizes power, wisdom, and superiority.
5.
1.The folk dance.
2 The Duhuang Dance.
3.The Lion Dance.
4.The Dragon Dance.

Reference:

https://en.wikipedia.org/wiki/History_of_Chinese_dance.

http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.

http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.

https://www.atlantis-press.com/proceedings/etmhs-16/25849367.

Origin of lianxiang.http://www.google.cn.

Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201215 cultexam 2

2020-12-21T05:05:12Z

PINGKI TANCHANGYA 4: /* Chinese traditional dance */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:

1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281)

3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)

===Historical Values===
1. The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)

3. Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)

5. The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

6. The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

7. The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设'' BeiJing Planning Review (04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.

Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.

Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:14, 20 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI ==

====The Origin of Shadow Play====
Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

====Introduction====

[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".（Zhu Hengfu 2020,36）

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3.What does a red head stand for in a play?
*4.When is shadow play put in the "Representative List of Intangible Cultural Heritage of Humanity".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is a symbol of a heroic and upstanding character.
*4.On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

===Introduction ===

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

=== Analysis of Confucian Culture ===

==== Intelligence Development ====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

====Spiritual Guidance ====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

====Order Construction ====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

===The Contemporary Value of Confucian Culture ===

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

====Ideological and Political Education ====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

==== Modern Economic Construction====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection." It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

==== Legal Construction ====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

===The Confucius Institute ===

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

===Terms and Expressions ===

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

===Questions ===

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

===Answers===

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

===References===

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56.

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68.

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83.

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33.

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43.

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12)

====Six Procedures====

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)

Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235)

Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235)

Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235)

What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235)

Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235)

Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

====Customs====

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)

After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)

The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

====Development====

As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)

Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling

====References====

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

====Terms and Expressions====

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

====Questions====

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

====Answers====

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==
<center> Ouyang Ling 欧阳玲 </center>
===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people.

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6).

Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7).

There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

====Folk Culture and Belief ====

The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35).

And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

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====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===
Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004
,Major: Comparative Literature and cross culture studies.

1. Introduction

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

3. The Dragon Dance

The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.
Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.

4. The lion Dance

The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.
In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.

4.1 The Southern Lion Dance

The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.

4.2 The Northern Lion Dance

The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)

5. Conclusion

"Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.

===Terms and Expressions===
1.Han Dynasty 汉朝。

2.Traditional dance history 传统舞蹈史。

3.The lion Dance 舞狮。

4.The Dragon Dance 龙舞。

5.Lianxing 联兴。

6.Chinese Dance 中国舞。

7.Festivals 节庆。

6. Questions:

1. What is lianxing?
2. What is the Dragon Dance? Have you seen it before? And Where?
3. The dragon Dance originated from where?
4. what Lion Dances Symbolized?
5. How many Chinese Traditional Dance names you know?

Answers:

1."Lianxiang" is generally a traditional dance that is quite popular in lots of regions.
2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.
3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.
4 The lion dance performed at Chinese festivals and
“Lion” symbolizes power, wisdom, and superiority.
5.
1.The folk dance.
2 The Duhuang Dance.
3.The Lion Dance.
4.The Dragon Dance.

Reference:

1. https://en.wikipedia.org/wiki/History_of_Chinese_dance.

2. http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.

3. http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.

4. https://www.atlantis-press.com/proceedings/etmhs-16/25849367.

5. Origin of lianxiang.http://www.google.cn.

6. Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201215 cultexam 2

2020-12-20T15:27:32Z

PINGKI TANCHANGYA 4: /* Chinese traditional dance */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:

1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281)

3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)

===Historical Values===
1. The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)

3. Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)

5. The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

6. The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

7. The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设'' BeiJing Planning Review (04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.

Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.

Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:14, 20 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI ==

====The Origin of Shadow Play====
Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

====Introduction====

[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".（Zhu Hengfu 2020,36）

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3.What does a red head stand for in a play?
*4.When is shadow play put in the "Representative List of Intangible Cultural Heritage of Humanity".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is a symbol of a heroic and upstanding character.
*4.On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

===Introduction ===

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

=== Analysis of Confucian Culture ===

==== Intelligence Development ====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

====Spiritual Guidance ====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

====Order Construction ====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

===The Contemporary Value of Confucian Culture ===

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

====Ideological and Political Education ====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

==== Modern Economic Construction====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection." It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

==== Legal Construction ====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

===The Confucius Institute ===

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

===Terms and Expressions ===

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

===Questions ===

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

===Answers===

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

===References===

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56.

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68.

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83.

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33.

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43.

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12)

====Six Procedures====

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)

Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235)

Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235)

Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235)

What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235)

Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235)

Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

====Customs====

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)

After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)

The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

====Development====

As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)

Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling

====References====

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

====Terms and Expressions====

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

====Questions====

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

====Answers====

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==
<center> Ouyang Ling 欧阳玲 </center>
===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people.

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6).

Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7).

There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

====Folk Culture and Belief ====

The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35).

And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===
Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004
,Major: Comparative Literature and cross culture studies.

1. Introduction

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

3. The Dragon Dance

The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.
Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.

4. The lion Dance

The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.
In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.

4.1 The Southern Lion Dance

The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.

4.2 The Northern Lion Dance

The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)

5. Conclusion

"Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.

6. Questions:

1. What is lianxing?
2. What is the Dragon Dance? Have you seen it before? And Where?
3. The dragon Dance originated from where?
4. what Lion Dances Symbolized?
5. How many Chinese Traditional Dance names you know?

Answers:

1."Lianxiang" is generally a traditional dance that is quite popular in lots of regions.
2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.
3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.
4 The lion dance performed at Chinese festivals and
“Lion” symbolizes power, wisdom, and superiority.
5.
1.The folk dance.
2 The Duhuang Dance.
3.The Lion Dance.
4.The Dragon Dance.

Reference:

1. https://en.wikipedia.org/wiki/History_of_Chinese_dance.

2. http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.

3. http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.

4. https://www.atlantis-press.com/proceedings/etmhs-16/25849367.

5. Origin of lianxiang.http://www.google.cn.

6. Classification of Lian Xiang. http://www.google.cn.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 15:27, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201215 cultexam 2

2020-12-20T15:25:24Z

PINGKI TANCHANGYA 4: /* Pingki, Tanchangya */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:

1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281)

3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)

===Historical Values===
1. The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)

3. Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)

5. The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

6. The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

7. The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设'' BeiJing Planning Review (04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.

Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.

Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:14, 20 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI ==

====The Origin of Shadow Play====
Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

====Introduction====

[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".（Zhu Hengfu 2020,36）

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3.What does a red head stand for in a play?
*4.When is shadow play put in the "Representative List of Intangible Cultural Heritage of Humanity".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is a symbol of a heroic and upstanding character.
*4.On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

===Introduction ===

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

=== Analysis of Confucian Culture ===

==== Intelligence Development ====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

====Spiritual Guidance ====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

====Order Construction ====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

===The Contemporary Value of Confucian Culture ===

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

====Ideological and Political Education ====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

==== Modern Economic Construction====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection." It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

==== Legal Construction ====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

===The Confucius Institute ===

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

===Terms and Expressions ===

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

===Questions ===

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

===Answers===

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

===References===

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56.

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68.

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83.

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33.

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43.

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12)

====Six Procedures====

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)

Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235)

Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235)

Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235)

What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235)

Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235)

Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

====Customs====

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)

After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)

The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

====Development====

As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)

Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling

====References====

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

====Terms and Expressions====

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

====Questions====

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

====Answers====

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==
<center> Ouyang Ling 欧阳玲 </center>
===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people.

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6).

Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7).

There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

====Folk Culture and Belief ====

The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35).

And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===
Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004
,Major: Comparative Literature and cross culture studies.

1. Introduction

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

3. The Dragon Dance

The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.
Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.

4. The lion Dance

The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.
In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.

4.1 The Southern Lion Dance

The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.

4.2 The Northern Lion Dance

The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)

5. Conclusion

"Lianxiang” is a remark traditional dance that popularized in lots of regions and nations. It’s a folk dance that combines entertainment and body-building. Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom.The lion dance is an excellent example of Chinese folk culture, which has spread across the world with Chinese immigration. Overseas Chinese in Europe, America, etc. have established many lion dance clubs, performing on Chinese festivals or big occasions, particularly Chinese New Year.

6. Questions:

1. What is lianxing?
2. What is the Dragon Dance? Have you seen it before? And Where?
3. The dragon Dance originated from where?
4. what Lion Dances Symbolized?
5. How many Chinese Traditional Dance names you know?

Answers:

1."Lianxiang" is generally a traditional dance that is quite popular in lots of regions.
2. The Dragon dance is a form of traditional dance and performance in Chinese culture. Yes, I have seen it before in China.
3. The Dragon Dance originated from the Han Dynasty. It was started by the Chinese people those had shown great belief and respect towards the dragon.
4 The lion dance performed at Chinese festivals and
“Lion” symbolizes power, wisdom, and superiority.
5.
1.The folk dance.
2 The Duhuang Dance.
3.The Lion Dance.
4.The Dragon Dance.

Reference:

1. https://en.wikipedia.org/wiki/History_of_Chinese_dance.
2. http://en.cnki.com.cn/Article_en/CJFDTotal-JFYS201701031.htm.
3. http://en.cnki.com.cn/Article_en/CJFDTotal-TIRE200403012.htm.
4. https://www.atlantis-press.com/proceedings/etmhs-16/25849367.
5. Origin of lianxiang.http://www.google.cn.
6. Classification of Lian Xiang. http://www.google.cn.

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201215 cultexam 2

2020-12-20T14:19:34Z

PINGKI TANCHANGYA 4: /* Chinese traditional dance */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:46, 20 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:

1. Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road) began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other.During the Ming and Qing dynasties, the government controlled tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. (Kang Yuming, Li Jinfeng2020,281)

3. The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers. (Kang Yuming, Li Jinfeng2020,282)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283) --[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:06, 20 December 2020 (UTC)

===Historical Values===
1. The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. (Ji Jing2016,354)

3. Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit. (Ji Jing2016,355)

5. The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

6. The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

7. The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:10, 20 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value?--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:11, 20 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设'' BeiJing Planning Review (04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技''Rural Economy and Science (11)281-283.

Li Gang, Li Wei李刚,李薇. (2011). 论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History]. ''西北大学学报''Journal of Northwestern University (04):113-117.

Ji Ji纪静. (2016). 茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ]. ''福建茶叶'' Tea In Fujian (07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 14:14, 20 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽 No.202070080594 MTI ==

====The Origin of Shadow Play====
Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he was glued to it. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were a variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play was recorded in Song Dynasty. Its rise and development were closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

====Introduction====

[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

Typically, a shadow puppet has three rods and some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

So how to make a puppet? First, draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; fourth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people have short beard, but the elderly men have long beard. (Wang Yexia 2012,10-11)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. The red is a symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", shadow puppet art rapidly revived, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".（Zhu Hengfu 2020,36）

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3.What does a red head stand for in a play?
*4.When is shadow play put in the "Representative List of Intangible Cultural Heritage of Humanity".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is a symbol of a heroic and upstanding character.
*4.On November 27, 2011.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:32, 20 December 2020 (UTC)

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

===Introduction ===

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

=== Analysis of Confucian Culture ===

==== Intelligence Development ====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

====Spiritual Guidance ====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

====Order Construction ====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

===The Contemporary Value of Confucian Culture ===

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

====Ideological and Political Education ====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

==== Modern Economic Construction====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection." It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

==== Legal Construction ====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

===The Confucius Institute ===

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

===Terms and Expressions ===

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

===Questions ===

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

===Answers===

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

===References===

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly (03) 60-62.

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College (02) 65-70.

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position (10) 55-56.

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University (05) 31-33.

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World (10) 67-68.

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (02) 77-83.

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University (05) 28-33.

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. (06) 39-43.

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:04, 20 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 MTI 英语笔译==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.(Zhou Dandi,Yue Shufa 2012,12)

====Six Procedures====

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.(Gao Xiaoqian 2017,235)

Na Cai is the begining of all the marriage procedures. It refers to a practice that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks and sheep are also frequently-used gifts.(Gao Xiaoqian 2017,235)

Wen Ming means that the boy's family asks the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the prospective bride and bridegroom through their “eight characters” of the birth moment.(Gao Xiaoqian 2017,235)

Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform the girl’s parents and decide to engage the marriage.(Gao Xiaoqian 2017,235)

What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes.(Gao Xiaoqian 2017,235)

Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family.(Gao Xiaoqian 2017,235)

Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

====Customs====

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker and many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. (Gao Xiaoqian 2017,235)

After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: (Gao Xiaoqian 2017,235)

The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he addresses the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

====Development====

As time goes by, there are many reforms about marriage nowadays. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi,Yue Shufa 2012,15)

Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until the present day. There still exist betrothal gifts and dowries, and many couples choose to wear red costumes. The bridegroom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deeply rooted in the hearts of Chinese people and show a unique Chinese characteristics.(Zhou Dandi,Yue Shufa 2012,15)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:54, 20 December 2020 (UTC)Mo Ling

====References====

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

====Terms and Expressions====

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

====Questions====

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

====Answers====

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603 MTI英语笔译==
<center> Ouyang Ling 欧阳玲 </center>
===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac has been engraved in every Chinese people.

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented without sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most time-honored one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6).

Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7).

There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some researches on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

====Folk Culture and Belief ====

The zodiac sign can not only reveal one’s age, but also represent his or her personality, career prospects and way of life according to Chinese superstition(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodiac sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creature, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804)

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight against each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35).

And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac(The Editorial Board, 2010: 34-35).

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme has developed a profound connotation and implications through generations. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:13, 20 December 2020 (UTC)

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===
Culture=Topic Chinese Traditional Dance=Pingki Tanchangya, Student No:201921080004
,Major: Comparative Literature and cross culture studies.

1. Introduction

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

3. The Dragon Dance

The Dragon dance is a form of traditional dance and performance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Many Chinese people often use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s. Chinese people who taught them agriculture, law and medicine, the foundations of civilization.
Dragons are believed to bring good luck to Chinese people, which are reflected in their qualities that include great power, dignity, fertility and wisdom. The appearance of a dragon is both frightening and bold.The Dragon Dance originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was also a popular event during the Song Dynasty and become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.

4. The lion Dance

The lion dance is a traditional Chinese dance performed on big occasions, such as the Spring Festival (Chinese New Year) for good luck, as it is believed that the lion is an auspicious animal.
In Chinese culture, the lion symbolizes power, wisdom, and superiority. People perform lion dances at Chinese festivals or big occasions to bring good fortune and chase away evil spirits.The lion dance is one of the most important traditions during Chinese New Year. It is performed to bring prosperity and good luck for the upcoming year. The lion dance is also a way to create a festive atmosphere and bring happiness. Performed in a lion costume, accompanied by the music of beating drums, clashing cymbals, and resounding gongs, lion dances imitate a lion's various movements or demonstrate martial arts, depending on the style. Though lion dances all use similar costumes, during its long development, the lion dance has divided into two styles: southern and northern.

4.1 The Southern Lion Dance

The southern lion dance originated in Guangdong, and it is the style popular in Hong Kong, Macau, and the hometowns of overseas Chinese. The southern lion dance is a performance based on the study of a lion's behavior, with an emphasis on actions like scratching and shaking of the body. Performances are vivid and entertaining, even comical. There are also skillful performances, such as playing with a ball, which includes swallowing it.

4.2 The Northern Lion Dance

The northern lion dance has close relations to kungfu Chinese martial arts. A young lion is performed by a single person and an adult lion is performed by a duo. Costumes are more robust, and less decorative, to allow for more movement. In the adult lion dance, the performer in front holding the lion's head is often lifted by the other to make the lion stand up. Northern lion dances are more gymnastic, involving rolling, wrestling, leaping, jumping, climbing, or kowtowing. The best places to see northern Chinese lion dances are China's martial arts theaters, like the Red Theater in Beijing, or even at the Shaolin Temple.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 14:19, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201214 cult

2020-12-20T13:35:30Z

PINGKI TANCHANGYA 4: /* Pingki, Tanchangya */

==Alsied, Saffana==

==Cao Runxin 曹润鑫==
1.儒家精神有其相对稳定、不易改变的一面。它不完全受社会形态的影响，有较为普遍的适应性，可以跨越不同社会历史时期，被不同政治制度、不同经济形态和不同文化背景下的人们所接受。

The spirit of Confucianism is relatively stable and unchangeable. It is not entirely influenced by social forms and has a more universal adaptability, and can be accepted across different socio-historical periods and by people in different political systems, different economic forms and different cultural backgrounds.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

2.道家从维护个人利益的角度出发，在经济理论、社会实践方面创立了“人本”的思想观点，主张通过维护每个人的个人利益来达到社会的和谐繁荣。

From the perspective of protecting the interests of the individual, Taoism has created a "humanistic" ideology in economic theory and social practice, advocating that social harmony and prosperity can be achieved by protecting the individual interests of each person.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

==Chen Han 陈涵==

1.儒家思想精髓在于它的社会伦理思想，正是封建社会伦理观从国家统治阶级的高度期望出发将人们生活现实中的行为规范用通俗的语言规范起来，让农民成为社会道德思想的奴隶，而这种封建伦理观作为封建统治阶级上层建筑社会意识中的最广泛影响治理社会群众基础的核心，从而完成对国家社会双重治理的理想效果。

The essence of Confucianism lies in its social ethical thought. It is the thought of feudal society that regulates the behavior norms of people’s lives in popular language from the high expectations of the country’s ruling class, making the peasants be enslaved to social ethics. As the core of the social consciousness of the feudal ruling class superstructure, which has the most extensive influence on governing the society and the people, it has achieved the ideal effect of dual governance of the state and society. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

2.道教把生命看得极为重要，修道就是要长生不死，主张通过修炼来延长生命的长度，提高生命存在的质量，以达到生命的永恒。道教主张以清净无为、不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼，通过各种道术修炼，与道合一，成为长生不死的神仙。

Taoism regards life as extremely important and practicing Taoism is to become immortal. It advocates to extend the length of life and improve the quality of life by practicing, so as to achieve eternity of life. Taoism holds an attitude of purity and non-contentiousness towards worldly life, and cultivation in the spirit of "I am the master of my fate", so that through various Taoist practices, one can unite with the Tao and become an immortal deity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

==Chen Jingjing 陈静静==

1.孔子生而七漏，头上圩顶，而又因其母曾祷于尼丘山，故名“丘”，字“仲尼”。

Confucius was born terribly ugly with a bump on the head, and as his mother once prayed on Mount Niqiu for his birth, he is named “Qiu” with the word “Zhongni”.

2.道家认为只有老百姓认可的平等才幸福，人们想要没有徭役租赋负担，“内足衣食之用，外无势利之争”的社会

Taoism claims that only the sort of equality that the ordinary people recognized will bring true happiness. People are yearn to be free from labour rent and taxes and to live in a society with adequate food and clothes and no struggle for power and gains.

==Dashkin, Gennadii==

1. It's generally believed that when Confucius was in his late 60s, he returned to his hometown Qufu in Shandong Province. For several years in his early 70s, he taught a group of disciples who later propagated his beliefs and developed their own philosophies.

人们普遍认为，孔子在六十多岁时回到了他的家乡山东曲阜。在70年代初期的几年中，他教过一群门徒，后来这些人传播了自己的信仰并发展了自己的哲学。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

我们通常认为，孔子在六十多岁时回到了他的家乡山东曲阜。在七十多岁的前几年，他教过一群门徒，后来这些人传播了他的信仰并发展了自己的哲学。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

2. Consequently, many leaders of Taoism had gained great respects from the imperial governments.

因此，许多道教领袖得到了帝王政府的尊敬。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

因此，许多道教领袖都受到了朝政的尊敬。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

==Chen Yongxiang 陈永相==
1. 孔子提出“有教无类”，认为人人都应该受教育。在教育实践中创立了灵活多样的教学方法，提倡“学”与“思”的结合、学习与复习的结合以及教与学的结合，讲求因材施教和启发式教学等等。

Confucius maintained the idea that everyone has the right to be educated despite class differences. In teaching practice, Confucius adopted flexible teaching methods which involve the combinations of learning and thinking, learning and reviewing as well as teaching and learning. He strived for educating students in accordance with their aptitude and adopted a heuristic style of teaching.

Confucius put forward "there is no kind of education," and believed that everyone should be educated. In educational practice, flexible and diverse teaching methods have been created, advocating the combination of "learning" and "thinking", the combination of learning and review, and the combination of teaching and learning, and emphasis on teaching students in accordance with their aptitude and heuristic teaching, etc.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

2. 道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。

Daoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Daoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:18, 19 December 2020 (UTC)

Taoism emphasizes freedom, nature, self-cultivation, and even the pursuit of immortality. Taoism has had a profound and lasting influence on many areas of Chinese culture, including art, philosophy, medicine, and gastronomy, and it has spread widely in East Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

==Ding Daifeng 丁代凤==

1.孔子的哲学思想强调个人美德和政治原则、和谐的社会秩序以及公正和真诚的社会环境。

The philosophy of Confucius emphasized personal and governmental morality, correctness of social relationships, justice and sincerity. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

The philosophy of Confucius emphasizes on personal morality, political principles, harmonious social order, justice, and sincere social environment.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

2.老子是中国历史上伟大的哲学家、作家。他不仅是道家的创始人，也成为了道教中供奉的一位神祇。

Laozi is a great philosopher and writer in Chinese ancient history. He is not only the founder of philosophical Daoism, but also worshipped as a deity in religious Daoism. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

Laozi, a great philosopher and writer in Chinese history, had not only became the founder of Taoism, but also a deity worshipped by Taoism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.儒家思想以传统封建社会为物质承担者，传统封建社会以儒家思想为精神承担者，传统社会的瓦解，致使孔子圣人权威丧失。

The Confucianism takes traditional feudal society as material undertaker while the latter takes the former as sipiritual undertaker. Therefore, the disintegration of traditional society causes the Sage Confucius to lose his authority.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Confucianism takes the traditional feudal society as its material undertaker, while the traditional feudal society takes Confucianism as its spiritual undertaker. The collapse of the traditional society leads to the loss of Confucius’ authority.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

2.道家作为一种思想流派，崇尚大道，主张“惟道是从、道法自然”，主要从事的是学术活动和政治文化活动，奉《道德经》、《庄子》、《黄帝四经》等为经典。

As a school of thought, Taoism advocates the great truth and follows the principle of nature. It is mainly for academic, political and cultural activities and regards Tao Te Ching,Chuang-tzu and Huang Di Si Jing as classics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Taoism, a school of thought, advocates the great truth and follows the principle of nature. It mainly serves academic, political and cultural activities and regards Tao Te Ching, Chuang-tzu and Four Classics of the Yellow Emperor as classics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

==Gao Mingzhu 高明珠==
1、“儒学”、“儒家”、“儒教”这些概念要分清。儒学作为一种学说，儒家作为一个阶层，儒教作为一种信仰，三者需要区分开来。

We should clearly distinguish the three concepts ---- Confucianism, Confucianist, Confucian religion, among which Confucianism is a theory and Confucianist is a strata and Confucian religion is a religion. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

The concepts of "Confucianism", "Confucianism" and "Confucianism" must be distinguished. Confucianism as a doctrine, Confucianism as a class, and Confucianism as a belief, the three need to be distinguished.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

2、在我国优秀传统文化中，道家思想蕴含了和谐理想、平等观念、诚信美德等诸多伦理智慧，这些思想很多都与社会主义核心价值观具有相通性，它们为社会主义核心价值观构筑了坚实的文化沃土。

In Chinese excellent traditional cultures, Taoism contains such ethics and wisdom as the desire for harmony, the idea of equality and the virtue of honesty, many of which have commonalities with the core values of socialism and have laid a solid cultural foundation for the core values of socialism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

In Chinese excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.

In my country’s excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

==Grosheva, Anna==

1. Confucianism is the main ancient philosophy of China. It implicitly embodies key aspects of Chinese culture. Confucian beliefs have constantly changed and developed over the past 2,500 years.
儒学是中国的主要古代哲学。它隐含了中国文化的关键方面。在过去的2500年中，儒家信仰不断变化和发展。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

2. During its popularization since its birth, Taoism had long been a kind of high-level culture, and widely pursued by the upper-class society.
道教自诞生之日起就一直是一种高级文化，并受到上层社会的广泛追捧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

==Gui Yizhi 桂一枝==

1. 四书五经是儒家施行其儒学教化的重要教科书，中国古代文人科举做官的必读书。

The Four Books and The Five Classics are the most important textbooks for the Confucian scholars to disseminate the educational thoughts of the Confucian School and a must for ancient scholars who had to pass the imperial competitive examination to become government officials.

2.道，代表宇宙本体和法则的统一，高度的抽象性与普遍意义是它的特点。

Tao, which refers to the integration of the noumenon and rules of the cosmos, is characterized by its deep abstraction and universal significance.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 12:33, 20 December 2020 (UTC)

==Guirou, Barthelemy==

==Guo Lu 郭露==
1. 孔子是我国古代伟大的思想家和教育家,儒家学派创始人,世界最著名的文化名人之一。孔子的言行思想主要载于语录体散文集《论语》。

Confucius was a great thinker of ancient China and educator, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.

Confucius is a great thinker and educator in ancient China, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:44, 18 December 2020 (UTC)

2.道教(或道教)是指各种相关的中国哲学传统和概念的英文名称。这些传统影响了东亚两千多年，有些还在国际上传播。道家的礼教和伦理强调 "道 "的三宝，即“慈、俭、让”。道家思想注重 "无为"、"人本"、"虚无"。无为常常被错误地翻译为（"无所作为"），这种错误由于非道家学者的翻译而广泛传播。道教强调人与自然的联系。道教认为，这种联系减少了对规则和秩序的需要，使人更好地理解世界。

Taoism (or Daoism) is the English name referring to a variety of related Chinese philosophical traditions and concepts. These traditions influenced East Asia for over two thousand years and some have spread internationally. Taoist propriety and ethics emphasize the Three Jewels of the Tao; namely, compassion, moderation, and humility. Taoist thought focuses on wu wei (" action that does not involve struggle or excessive effort" ) spontaneity, humanism, and emptiness. Wu wei is often incorrectly translated as ("non-action") and this error has propagated widely as a result of translations made by academics who are non practising Taoists. An emphasis is placed on the link between people and nature. Taoism teaches that this link lessened the need for rules and order, and leads one to a better understanding of the world.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:12, 17 December 2020 (UTC)

==Ha, Thi Thu Hang==

==He Changqi 何长琦==

==Hu Baihui 胡百辉==
1.孔子是中国儒学的创始人。两千余年来，儒家思想对中国的影响不仅体政治、政治、文化等方面，也体每一个中国人的行为和思维方式之中。

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of Confucianism on China is not only in politics, politics, culture and so on, but also in the behavior and mode of thinking of every Chinese.

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of his Confucianism on China is not only in politics,culture and so on, but also in the behavior and mode of thinking of every Chinese.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

2.道教在世界宗教中是独一无二的，因为它没有官方的教条和教义。它最重要的文本是《道德经》和《庄子》，这两本书可能被认为是文学或哲学作品，而不是宗教文本。

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy more than religious texts. --[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:56, 18 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy instead of religious texts.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:04, 19 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered as works of literature or philosophy rather than religious texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

==Hu Jin 胡瑾==
1. 孔子是儒家学派的创始人，也是春秋时期人本主义思想的集大成者。儒家思想已成为我们文化遗产中的一部分。

Confucius was the founder of the Confucian school and the main Humanist thinker of the Spring and Autumn Period. Confucian ideas have become part of our cultural inheritance.

Confucius was the founder of the Confucianism and the major Humanist thinker in the Spring and Autumn Period, whose ideas have become part of our cultural inheritance.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:06, 18 December 2020 (UTC)

Confucius was the founder of the Confucian school and a master of humanistic thoughts in the Spring and Autumn Period. And Confucianism has become a part of our cultural inheritance.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:01, 19 December 2020 (UTC)

2. 传统上，道教是归因于三个来源，最古老的是黄帝传说，但最著名的是老子的《道德经》。第三个来源就是庄子的作品。道教的最初来源据说是古代的《易经》。

Traditionally, Taoism has been attributed to three sources, the oldest being the legendary ‘Yellow Emperor’, but the most famous is Lao Zi's Tao Teh Ching. The third source is Chuang Tzu's work. However, the original source of Taoism is said to be the Book of Changes.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 08:48, 18 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

孔子在中国历史上最早提出人的天赋素质相近，个性差异主要是因为后天教育与社会环境影响（“性相近也，习相远也”）。因而人人都可能受教育，人人都应该受教育。

Confucius was the first Chinese to argue that human beings are endowed with similar qualities, and personality differences are mainly due to the influence of education and social environment ("By nature men are similar to one another, but learning and practice make them different."). Thus, everyone could be and should be educated.

庄子在哲学思想上继承和发展了老子“道法自然”的思想观点，使道家真正成为一个学派，他自己也成为了道家的重要代表人物，与老子并称“道家之祖”。

Zhuangzi inherited and developed Laozi's philosophical idea of "the natural law", making Taoism an academic school, and he himself became an important representative of Taoism, known as "the ancestor of Taoism" together with Laozi.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:54, 18 December 2020 (UTC)

Zhuangzi inherited and developed Laozi's idea of "Tao following nature" in philosophy, making Taoism a school of thought. He himself became an important representative of Taoism and was called "the ancestor of Taoism" with Laozi.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:05, 18 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==

1.儒家思想是先秦诸子百家学说之一，由孔子于公元前5世纪创立，是中国影响力最大的流派，也是中国古代的主流意识。儒家思想的内涵丰富复杂，在广泛汲取古代典籍精华的基础上逐步发展出基础理论和思想，即讲大一统、讲君臣父子。由程朱理学、陆王心学到废除封建君主专制制度等，都体现了儒家思想的内容。

Confucianism is one of the various schools of thought in pre-Qin period, established by Confucius in the 5th century BC. It is the most influential school in China and the mainstream ideology in ancient China. The connotation of Confucianism is rich and complex. On the basis of extensively absorbing the essence of ancient classics, it has gradually developed the basic theories and thoughts, namely, the great unification and the emperor and the subjects just like father and sons. Besides, the philosophy of Cheng and Zhu, the philosophy of Lu and Wang, the abolition of the feudal autocratic monarchy, and so on are all the embodiment of Confucianism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

2.道家思想是无所不能、永恒不灭，有辩证法因素和无神论倾向，是老子总结古老的道家思想所形成的完整系统理论，它以“道”为最高哲学范畴，认为“道”是世界的最高真理，是宇宙万物的本源，也是宇宙万物赖以生存的依据。其主流派有黄老学派，鬼谷子纵横家、修真派、法家学派、玄学、杨朱学派。无为、不争，是老子对君王的告诫，汉文帝、唐太宗、宋仁宗、明太祖等皆以道家思想治国，使人民从前朝苛政之后得以休养生息。

Taoism, omnipotent and eternal, with a tendency to dialectical factors and atheism, is a complete system of theories formed by Lao Zi by summarizing ancient Taoist thoughts. It takes "Tao" as the highest philosophy and truth, the origin of the universe, and also the basis for the existence of the universe. Its main schools are Huang Lao school, Guiguzi school, Xiuzhen school, Legalist school, metaphysics, and Yang Zhu school. Lao Zi persuaded emperors to do nothing and fight for nothing. And Emperor Wen of the Han Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Renzong of the Song Dynasty and Emperor Taizu of the Ming Dynasty all ruled with Taoist thoughts, so that people could recover from the tyranny of the previous dynasty.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

==Kang Haoyu 康浩宇==
1. 理学是中国古代最为精致、最为完备的理论体系，其影响至深至巨。理学的天理是道德神学，同时成为儒家神权和王权的合法性依据，至南宋末期被采纳为官方哲学。

Neo-Confucianism is the most exquisite and complete theoretical system in ancient China, and its influence is profound and enormous. The natural principle of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

2. 古代道家崇尚自然，有辩证法的因素和无神论的倾向，但是主张清静无为，反对斗争。

Ancient Taoism advocates nature, has dialectic factors and atheism tendency, but advocates quietism and opposes struggle.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

==Lei Fangyuan 雷方圆==

==Lei Kuangxi 雷旷溪==
1、儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变“学在官府”为“有教无类”，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。但是儒学在历史上也多次遭受严重冲击，近至满清的文字狱，毁古书严重的《四库全书》，远至秦始皇焚书令等。

Confucius, the founder of the Confucian school, broke the monopoly of the old ruling class on education for the first time, changed the "learning in the government" to "teaching without class", and spread traditional culture and education to the whole nation. As a result, Confucianism had a solid national psychological foundation and was accepted by society as a whole, which gradually became Confucianized. However, Confucianism has also suffered many serious impacts in history, from the Manchu Qing dynasty's written jails to the destruction of ancient books in the Siku Quanshu, and the Qin Shihuang's book burning order.

Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class for the first time, changing "study in the government" to "education without class", so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society. However, Confucianism has also suffered severe impacts in history many times, as far as the Manchu literary prison, the "Siku Quanshu", which has severely destroyed ancient books, and as far as the book burning order of Qin Shihuang.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:11, 19 December 2020 (UTC)

2、一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。从养生学源流的角度说：寿命无限。

It is generally believed that one of the characteristics of Taoist thought is to achieve the supreme perfection of eternal immortality through various cultivations, thus it creating the science of Chinese medicine and health and from the practice of alchemy, gunpowder was invented, and the four major inventions of China are all related to Taoism. From the perspective of the source of health science:it means infinite life span.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:35, 18 December 2020 (UTC)Lei Kuangxi

==Li Lili 李丽丽==

1.董仲舒顺应汉武帝强权的需要，倡导“罢黜百家，独尊儒家”的思想。
Dong Zhongshu adapted to the needs of Emperor Wu of Han Dynasty to strengthen power, and advocated the idea of "deposing hundreds of schools and respecting Confucianism only". --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

2.道家以“道”为核心，是“诸子百家”中一门极为重要的哲学流派，存在于中华各文化领域，对中国乃至世界的文化都产生了巨大的影响。
Taoism, with "Tao" as its core， is a very important philosophical school in "various schools of thought". It exists in all cultural fields of China and has a great impact on Chinese and even the world culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

==Li Liqin 李丽琴==
1. 儒家在先秦时期和诸子百家地位平等，秦始皇焚书坑儒后，使儒家遭受重创。而后汉武帝为了维护封建专制统治，听从董仲舒“罢黜百家，独尊儒术”的建议，对思想实施钳制，使儒家重新兴起。历经两千多年的发展演变，儒学文化构建起完整的思想体系，涉及政治、教育、道德伦理、行为准则、生活技艺等诸多方面，长期涵养国人的智慧和心灵，形成固定思维、心理以及生存模式，可谓根深蒂固。

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

2. 《老子》是道家学派的主要著作之一，它的产生丰富了我国传统文化和思想宝库。老子是道家思想的创始人，他提出了许多重要的范畴和观点，在中国哲学史上独放异彩，并给予后世以深远影响。

''Laozi'' is one of the main works of the Taoist School; its production enriches our country's traditional culture and stock house of thoughts. Lao Zi, the founder of the Taoism, proposed a lot of important views and conceptions which have original enchantment in Chinese philosophy, and influence the afterworld deeply. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

''Laozi'' is one of the main works of the Taoism and its production enriches our traditional culture and the treasury of thoughts. Lao Zi, the founder of the Taoism, proposed many important views and conceptions which have original enchantment in Chinese philosophy, and have a far-reaching influence on the afterworld.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:36, 17 December 2020 (UTC)

==Liu Liu 刘柳==

1.人道主义是人类永恒的主题，对于任何社会，任何时代，任何一个政府都是适用的，而秩序和制度社会则是建立人类文明社会的基本要求。

Humanity is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.

Humanitarianism is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

Humanity is the eternal theme of human society, and it is applicable to any society, any era, and any government. Order and institution is the basic requirement for building a civilized human society.
----

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as a native religion.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:38, 17 December 2020 (UTC)

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as a native religion.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

==Liu Ou 刘欧==

==Liu Yi 刘艺==
1、孔子的大同社会、小康社会理想对中国后世影响深远。后来不同历史时期，不同阶段的思想家提出不同内容的憧憬蓝图和奋斗目标，这种思想对进步思想家、改革家也有一定启发，洪秀全、康有为、谭嗣同和孙中山都受其影响。

Confucius' ideal of a commonwealth society and a moderately prosperous society had a profound influence on later generations in China. Later on, thinkers at different stages of history put forward different content of visionary blueprints and goals to strive for, and such ideas also inspired progressive thinkers and reformers, with Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Yat-sen being influenced by them.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

The social ideal of a commonwealth society and a moderately prosperous society from Confucius has posed profound impacts on China's future generations. Later, even in sundry historical times, miscellaneous idealists put forward different blueprints and struggle goals, which indicated that Confucius ideal has inspired advanced idealists and refomers, including Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Zhongshan.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:20, 17 December 2020 (UTC)

2、新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。

After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

After the founding of the People's Republic of China, Taoism was out of some unreasonable systems and bad practices in the old society were reformed and it then took on a new face. The establishment of the Chinese Taoist Association promoted the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. However, Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 05:06, 17 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
从鸦片战争到戊戌变法是新儒学的准备阶段，这一阶段主要表现为儒家学者在西方文明冲击之下被动接受西方文明的一些内容以求自强。
The period from the Opium War to the Hundred Days Reform was the preparatory period of Neo-Confucianism,which was characterized by the passive acceptance of some elements of Western civilization by Confucian scholars in order to strengthen themselves under the impact of Western civilization.

道教源于神仙思想和神仙方术。虽神仙方术没有系统的理论，但神仙家信仰的方术被道教承袭，神仙方术演化为道教的修炼方术，神仙方士演化为道家的道士。
Taoism originated from the idea of the divine immortals and the divine immortal arts. Given the fact that there is no systematic theory of divine and immortalism, the divine and immortalist beliefs were inherited by Taoism. The divine and immortalist prescriptions evolved into Taoist cultivation prescriptions, and the divine and immortalist practitioners evolved into Taoist priests.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:21, 18 December 2020 (UTC)

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 孔子（公元前551～公元前479）名丘，字仲尼，是中华文化思想的集大成者，儒家学说的创始人。我国古代伟大的思想家、政治家、教育家。他的哲学思想提倡“仁义”，“礼乐”，“德治教化”,儒学思想渗入中国人的生活，文化领域中，同时也影响了世界上其它地区的大部分人近两千年。

Confucius (551BC-479 BC), whose name is Qiu, courtesy name Zhong Ni, is the master of Chinese culture and thought and the founder of Confucianism. He is a great thinker, statesman and educator in ancient China. His philosophy advocated "benevolence and righteousness", "rites and music", and "moral education". Confucianism permeated the life and culture of the Chinese people, and also influenced most people in other parts of the world for nearly two thousand years.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 19 December 2020 (UTC)

2 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class. After the founding of the People's Republic of China, Taoism gained a new life through the democratic reform of the religious system and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, reunification of the motherland and world peace.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:14, 19 December 2020 (UTC)

==Luo Weijia 罗维嘉==

==Luo Yuqing 罗雨晴==

1.在大同的世界里，天下的人，不止以自己的家人为亲，不止以自己的父母儿女为爱，而是相互敬爱，爱天下所有的人。使老有所终，壮有所用，孩子们都能获得温暖与关怀，孤独的人与残疾者都有所依靠，男人各自有自己的事情，女人有满意的归宿。

Love each other not only in our family, but also in the world. Make the old have a home, strong and useful, children can get warmth and care, lonely people and the disabled can rely on others, men have their own businesses, women have a satisfactory home.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

2.儒家认为平等是来自于人性，人性是善良的那么人类社会也应该是善良的，既被证成的平等；而道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Confucianism believes that equality comes from human nature, and human nature is good, so human society should also be good, which is proved to be equality; while Taoism believes that equality has achieved good results in the past, then on the basis of the existing equality cognition, the society should develop better now and in the future. However, the Confucian ethical class hindered the development of human beings and became the banner of exploiting the common people by the feudal lords，therefore, it is necessary to eliminate all kinds of ideologies without benevolence, to achieve a society that is satisfactory to all human beings, which is already recognized as equality.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

==Mo Ling 莫玲==

1.君子坦荡荡，小人长戚戚。

A gentleman is open and poised; while a petty man is unhappy and worried.

The gentleman is calm and at ease, while the small man is always full of anxiety. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

2.人法地，地法天，天法道，道法自然。

The person reflects the earth.The earth reflects heaven. Heaven reflects the Way. And the Way reflects its own nature.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:46, 17 December 2020 (UTC)Mo Ling

Men must conform to the earth, earth to heaven, heaven to Tao and Tao to nature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==

1. 经由董仲舒重新解释和发挥的儒教教义，十分重视礼仪制度的建设，特别是其中祭天、祭祖的礼仪制度建设。完备而复杂的礼仪制度有助于人们养成遵守秩序、安分守己的习惯，这正是儒教重视礼仪的重要目的之一。

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and bahaving properly, which is one of the important purposes for Confucianism to emphasize rites.

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and conducting themselves, which is one of the important purposes for Confucianism to emphasize rites.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:17, 19 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。

Daoists regard Tao as the origin of the world. In politics, they uphold that Tao is to conform to the nature and advocated governing by doing nothing. According to the understanding of Tao and doing nothing, there are different denominations of Daoism focusing on different thoughts, some of which focus on governing and some on self-cultivation.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:25, 17 December 2020 (UTC)

==Peng Ruihong 彭锐宏==

1.儒家原先是先秦诸子百家之一，其创始人是孔子。儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。

Confucianism was originally one of the hundred schools of pre-Qin scholars, whose founder was Confucius. In the pre-Qin period, Confucianism had equal status with all scholars. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "removing a hundred schools of thought and respecting Confucianism", and imposed a restraint on ideology, which revived Confucianism.

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion. Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.

==Phyo, Su Kyi==
1-儒家通过等级制度的传播而传播。这种宗教是由于中国人对邻国的影响而传承的。儒家思想从其在山东的地盘传到了中国的北部和南部地区。

Confucianism diffused through hierarchical diffusion. This religion was passed on through the Chinese's influence on their neighboring countries. Confucianism spread from its hearth in the Shandong province into China's northern and southern territories.

2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。

Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:43, 18 December 2020 (UTC)Su kyi

==Pingki, Tanchangya==
1. 孔子出生于2500年前。孔子是17世纪的耶稣会传教士，他称他为孔子。
Confucius was born over 2,500 years ago. Confucius was the Jesuit missionaries of the 17th century who called him Confucius and this latinate name has since become known to the west.

2. 儒家思想是中国古代的一种信仰体系，即人类从根本上讲是善良，可教和可改进的。
Confucianism is an ancient Chinese belief system that human beings are fundamentally good and teachable and improvable.

3. 道教是中国两种伟大的本土哲学传统之一。老子，准子和道教描述了自汉末以来各种所谓的“宗教”运动。
Daoism is one of the two great indigenous philosophical traditions in China. Laozi, Zhunzi and Daojiao describe various so-called "religious" movements since the end of Han Dynasty.

4. 道教甚至没有说出一位开国思想家所建立的传统，甚至是通过一个共同的信念，即一位名叫老子的老师创立了这所学校并写下了它的主要著作，称为道德经，有时也被称为老子。
Daoism does not name a tradition constituted by a founding thinker even through the common belief is that a teacher named Laozi originated the school and wrote it's major work, called the Daodejing， sometimes known as the Laozi.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 13:35, 20 December 2020 (UTC)

==Qu Miao 瞿淼==

==Rajabov, Anushervon==

1. Confucius is regarded as a great philosopher and a great sage of ancient China.

孔子是中国古代的伟大哲学家和圣贤。

2. Confucianism, a major official system of thought in China, originated from the teachings of Confucius.

儒家思想是中国的主要官方思想体系，它源于孔子的教.

3. Daoism has a god for almost everything: the sun, the moon, stars, wind, rain, thunder, lightening, mountains and rivers.

道教几乎所有的事物都有上帝-太阳，月亮，星星，风，雨，雷声，闪电，山脉和河流。

4. Daoism was also associated with alchemy, which was at one time a practical way of seeking the elixir of life by the transmutation of base matter into gold.

道教还与炼金术有关，炼金术曾经是一种通过将基础物质转化为黄金来寻求生命之药的实用方法。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 12:32, 20 December 2020 (UTC)

==Seydou, Sagara==
1Confucianism is often characterized as a system of social and ethical philosophy rather than a religion. In fact, Confucianism built on an ancient religious foundation to establish the social values, institutions, and transcendent ideals of traditional Chinese society.
2 Confucius father died when he was too young and he was teaching moral and physical training.
3 Daoism is a philosophy, a religion, and a way of life that arose in the 6th century BCE in what is now the eastern Chinese province of Henan. It has strongly influenced the culture and religious life of China and other East Asian countries ever since.
1儒教通常被描述为一种社会和伦理哲学体系，而不是一种宗教体系。实际上，儒家思想建立在古老的宗教基础上，旨在确立中国传统社会的社会价值观，制度和超越理想.
2孔子的父亲在年纪轻轻的时候就去世了，当时他正在教道德和体育锻炼.
3道教是公元前6世纪在现在的中国东部河南省兴起的一种哲学，一种宗教和一种生活方式. 从那以后，它对中国和其他东亚国家的文化和宗教生活产生了深远的影响.

==Shi Haiyao 石海瑶==

==Si Yu 司妤==

1.在汉代的儒家思想普及过程中，很多社会问题得到解决。儒家思想倾向于施用仁政管理国家，政治家们以此为根据，限制土地过分集中，建立完善的道德体系。

Many social issues were settled during the popularization of Confucianism in the Han Dynasty. Confucianism claimed benevolent governance in managing the country, according to which politicians limited the centralization of lands and built a comprehensive moral system.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

During the popularization of Confucianism in the Han Dynasty, many social problems were resolved. Confucianism tended to use benevolent governance to manage the country. Politicians used this as a basis to limit the excessive concentration of land and establish a sound moral system. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:17, 20 December 2020 (UTC)

2.道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Taoism proposed that equality had gained fine development in the past, on which equality in contemporary and future society should have a better development. But Confucianism’s feudalism and ethical codes hindered the human growth and became the banner of theft and exploitation of the people by the vassals, so it is necessary to dissolve the various ideologies of non-benevolence and ritual to get a society that is satisfactory to all human beings, namely, recognized equality.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==

1. 董仲舒提出“春秋大一统”和“罢黜百家，独尊儒术”，强调以儒家思想为国家的哲学根本，杜绝其他思想体系。汉武帝采纳了他的主张。从此儒学成为正统思想，研究四书五经的经学也成为了显学。此时，孔子已死三百余年。董仲舒在具体的政策上将道家，阴阳家和儒家中有利于封建帝王统治的部分加以发展，形成了新儒家思想。

Dong Zhongshu proposed the "Great Unification of the Spring and Autumn Period" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.

Dong Zhongshu proposed the "Great Unification of the Nation" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang School and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:25, 19 December 2020 (UTC)

2. “道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。在中国哲学史上，“道”这一范畴为道家首先提出。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。这一变化经历了相当长的历史过程。春秋后期，老子最先把道看作是宇宙的本原和普遍规律，成为道家的创始人。以后，在不同的哲学体系中其涵义虽有不同，但基本上成为世界本原、本体、规律或原理的代名词。

"Tao" is an important category in ancient Chinese philosophy, which is used to describe the origin, essence, law or principle of the world. In the history of Chinese philosophy, the category of "Tao" was first introduced by the Taoists. The original meaning of Dao refers to the path, the straight path, and later it gradually developed into reason, which is used to express the regularity of things. This change has gone through a rather long historical process. In the late Spring and Autumn period, Laozi first regarded Tao as the origin and universal law of the universe and became the founder of Taoism. Later, although its meaning differs in different philosophical systems, it basically became a synonym for the origin of the world, the essence, the law or the principle.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:59, 17 December 2020 (UTC)

==Tang Bei 汤蓓==

1.孔子于公元前551年出生于现在的山东省，是中国古代著名的哲学家、政治家和教育家，也是儒家思想的创始人，“仁”和“礼”是其两大核心思想。孔子的儒家思想对中国和周边国家及地区乃至世界都有着深远的影响。2004年中国政府为了向外推广给汉语和传播中国文化，在海外建立了第一所“孔子学院”。

Confucius was born in 551 B.C. in the place where it is in Shangdong province now. He was a famous philosopher, statesman, educator in ancient China, and also the founder of Confucianism. “Humaneness” and “rites” are two of his core thoughts. Confucianism has had far-reaching influence on China, the surrounding countries and areas, and even the whole world. And in 2004, the Chinese government established the first Confucius Institute overseas for the purpose of promoting Chinese language and publicizing Chinese culture.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

2.老子是中国古代著名的思想家、哲学家，是道家思想的创始人，也是世界百位历史名人之一。《道德经》是老子唯一的著作。朴素辩证法是老子哲学思想的精髓，而“无为”是其政治思想核心。即使在21世纪的今天，大至国家大家，小到个人的行为处事，老子的思想依然对社会有着深远的影响。

As the founder of Taoism, Laozi was a philosopher and thinker in ancient China, and he is one of the world’s 100 great eminent figures in history. Naive Dialectic is the essence of Laozi’s philosophical ideas, while non-action is the core of his political thoughts. Even in the 21th century, his thoughts still have pervasive influence on socirties, from such important things as state affairs to such trivial things as individual styles.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==

1.儒家思想指的是儒家学派的思想，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。

Confucianism refers to the thought of Confucianism, which was founded by the thinker Confucius in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

Confucianism refers to the thoughts of Confucianism, which was founded by Confucius，the thinker, in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:04, 20 December 2020 (UTC)

2.道家的起源，可以一直追溯到春秋战国时期。道家思想的形成是以总结、发展、写著典籍为主要路径，每一次思想的跳跃都经历了极其长时间的众人积累，这也再一次的凸显了道家的生命力。

The origin of Taoism can be traced back to the spring and Autumn period and the Warring States period. Taoist thought is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which once again highlights the vitality of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

==Wang Xuan 王轩==
1. 孔子创立了以仁为核心的道德学说，他自己也是一个很善良的人，富有同情心，乐于助人，待人真诚、宽厚。“己所不欲，勿施于人”、“君子成人之美，不成人之恶”、“躬自厚而薄责于人”等等，都是他的做人准则。

Confucius founded the moral theory with benevolence as the core. He was also a very kind person, full of compassion, willing to help others, sincere and generous. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.

Confucius founded the moral theory with benevolence as the core. He himself was also a very kind person full of compassion who is willing to help others with sincerity and generousity. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:34, 18 December 2020 (UTC)

2. 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the party and the government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:06, 18 December 2020 (UTC)Wang Xuan

After the founding of the people's Republic of Chin, Chinese Taoism has gained a new life and gradually embarked on the road to adapt to the socialist society through its democratic reform of the religious system. Since the reform and opening up, under the guidance of the Party and the Chinese Government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:29, 18 December 2020 (UTC)

==Wu Qiong 吴琼==

1. 孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,海人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound influence on China and its neighboring countries. He was the first person in Chinese history to devote himself to the cause of education, as he never tired of learning and never tired of the sea.

Confucius founded the school of Confucianism, profoundly influencing China and its neighboring countries. He was the first Chinese throughout history to devote himself to the cause of education, for never being tired of learning and teaching. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:33, 18 December 2020 (UTC)

1.孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,诲人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound impact on China and its neighboring countries. He was the first person in Chinese history dedicating himself to the cause of education, as he never tired of learning and teaching.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:01, 20 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。
Taoism takes the Tao as the origin of the world, and the role of the Tao is to be soft and follow the path. In politics, Taoism advocates the rule of inaction, and because of the different understanding of the Tao and inaction, it is divided into different schools, and the focus of thought differs between different schools, either favoring the rule of the state, or favoring the rule of the body, etc.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:08, 17 December 2020 (UTC)

==Wu Yilu 吴一露==
1.发愤忘食，乐以忘忧，不知老之将至云尔。

One studies too hard to have meal and indulges himself in knowledge too elated to worry，even failing to .aware the pending oldness.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

2.一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。

Generally, it is believed that one of the features of Taoism is to reach the ultimate perfect of immortality through various ways of practice. So the science of health maintenance of traditional Chinese medicine was established; in addition, gunpowder originated from alchemy practice, actually, the four ancient Chinese inventions are all related to Taoism.
--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

==Wu Zijia 吴子佳==

==Xiao Shuangling 肖双玲==

1.中庸精神随着时间的推移，其价值和重要性必将日益显现出来，这一点已经有所表现。中庸之道是世界上最具有连续性的文化，也是中国众多文化流派中最具有价值的核心精神和观念。

1.With the passage of time, the value and importance of the spirit of the mean will become increasingly apparent, which has already been demonstrated. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

With the passage of time, the value and importance of the spirit of the mean, already demonstrated, will become increasingly apparent. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:27, 18 December 2020 (UTC)Wang Xuan

2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。

2.Taoist literature and art are literary and artistic works in various forms that promote Taoist doctrines, the thoughts of immortal longevity, and reflect their religious life. Literature and art can expand the social influence of Taoism, thereby improving the religious quality of Taoism. In turn, Taoist belief in immortals has also had a huge impact on the development of Chinese literature and art.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.儒家思想对中国文化的影响很深。传统的责任感思想、节制思想和忠孝思想，都是它和封建统治结合的结果，因此，儒家思想是连同我们当代在内的主流思想。儒学在中国存在几千年，对于中国的政治、经济等各个方面依然存在巨大的潜在影响。

Confucianism has had a profound influence on Chinese culture。The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism is the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has a huge potential influence on all aspects of Chinese politics and economy.

Confucianism has had a profound influence on Chinese culture. The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism has been the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has maintain a huge potential influence on all aspects of Chinese politics and economy.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:48, 18 December 2020 (UTC)

2．和谐文化建设是构建社会主义和谐社会的要义之一。中国传统道教文化对中国社会产生了深远的影响。在当今构建和谐社会的进程中,道教文化依然有其独特的存在价值。

The building of a harmonious culture is one of the essentials for building a harmonious socialist society. The traditional Chinese Taoist culture has had a profound influence on Chinese society. In the process of building a harmonious society today, Taoist culture still has its unique value to exist.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:14, 17 December 2020 (UTC)Xiao Ting

The construction of a harmonious culture is one of the essentials of a harmonious socialist society. Taoist culture, a traditional Chinese culture, has exerted a profound influence on Chinese society. It still embraces unique value in today's building of a harmonious society. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:29, 17 December 2020 (UTC)

==Xie Fan 解帆==
1.孔子学院是中外合作建立的非营利性教育机构，致力于适应世界各国（地区）人民对汉语学习的需要，增进世界各国（地区）人民对中国语言文化的了解。

Confucius Institutes are non-profit educational institutions jointly established by China and other countries. They are dedicated to meeting the needs of people in all countries (regions) for Chinese learning and promoting their understanding of Chinese language and culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

The Confucius Institute is a non-profit educational institution established through Sino-foreign cooperation, dedicated to meeting the needs of people around the world for Chinese language learning and enhancing their understanding of Chinese language and culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening up, under the guidance of the religious policies of the CPC and the government in the new era, Taoism in China has shown an unprecedented look and made positive contributions to promoting economic development, social harmony, reunification of the country and world peace.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

Since the reform and opening up, under the guidance of the Party and the government's religious policies in the new era, Chinese Taoism has taken on a new and unprecedented appearance, making positive contributions to the economic development, social harmony, reunification of the motherland and world peace.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

==Xu Jia 徐佳==
1. 孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成《论语》。该书被奉为儒家经典。

After the death of Confucius, his students wrote down all conversations they had with their teacher and then compiled them into the Analects, which has been regarded as a classic of Confucianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

After the death of Confucius, his disciples and re-disciples recorded the words and thoughts of Confucius and his disciples and compiled them into the ''Analects'', which is regarded as a classic of Confucianism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

2. 《老子》书提出以“道”为核心的哲学思想体系。它以道为宇宙的根本，阐述了道的本质、特点及其运动变化的规律。

The book Laozi establishes a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

The book, ''Laozi'', presents a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

==Xu Jing 许静==
因此古儒实际上是在一个礼崩乐坏的时代，努力复兴西周价值的这样一个学派。离开了对西周这一套的分析，我们是没有办法认识古儒的。

Thus ancient Confucianism was in fact a school of thought striving to revive the values of the Western Zhou at a time when rituals and music were in ruins. It can not be fully understood without an analysis of Western Zhou.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

老子说：“上善若水，水善利万物而不争。”水无常形，顺势而为，为而不争，方达所愿。可以削平山川却堵不住流水。“不争先”不是不求上进，而是尊重自然规律，不破坏均衡，不因小失大、迷失自我。

Lao Tzu said, "Water is good for it is good for all things but does not compete." Water has no permanent form. It follows the trend and does not struggle to reach its destination. While it is possible to cut down mountains water can not be blocked. "It is not a matter of not striving for advancement, but of respecting the laws of nature, not destroying the balance, not losing oneself for the sake of minor things.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

==Yang Chenting 杨晨婷==

1. 南北朝时期（420一589）是道教进一步充实完善的时代，是道教走上成熟的时代，出现了众多的道教改革家、理论家，他们的活动对后世道教有着重要的影响。

1. The Southern and Northern Dynasties period (420-589) was a time when Taoism was further enriched, a time when Taoism came to maturity and numerous Taoist reformers and theorists emerged, having an important influence on the development of Taoism.

Taoism was further developed and came to maturity in the Southern and Northern Dynastie(420-589) when numerous Taoist reformers and theorists emerged and their activities had an important influence on the development of Taoism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:47, 18 December 2020 (UTC)Xu Jia

2. 曲阜孔庙为纪念孔夫子而兴建，千百年来屡毁屡建，到今天已经发展成超过100座殿堂的建筑群。

2. The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and built again and again over the centuries. Today, it has grown into a building complex of over 100 palaces today.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:19, 17 December 2020 (UTC)Yang Chenting

The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and rebuilt again and again over the past centuries. Today, it has grown into a building complex of over 100 palaces.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:49, 17 December 2020 (UTC)Mo Ling

==Yang Hairong 杨海容==

1.儒家的“德治”主义就是主张以道德去感化教育人。儒家认为，无论人性善恶，都可以用道德去感化教育人。这种教化方式，是一种心理上的改造，使人心良善，知道耻辱而无奸邪之心。
The Confucian "rule of virtue" doctrine advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is good or bad, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people good-hearted, knowing the shame and not being evil.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

Confucian doctrine of "rule of virtue" advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is, good or evil, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people kind-hearted and knowing the shame but not being evil.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

2.“己所不欲，勿施于人”、“躬自厚而薄责于人” 等，都是孔子的做人准则。
"Do not do to others what you do not want to do to others", "self-respect and responsibilities to others" are all Confucius’s principles of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

"Do not do to others what you do not want to do to yourself" and "self-respect and responsibilities to others" are both Confucius's codes of conduct.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

3.认为天地万物都有"道"而派生，即所谓"一生二，二生三，三生万物"，社会人生都应法"道"而行，最后回归自然。
It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "One life two, two life three, three life all things", social life should follow the law "Tao" and finally return to nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "Two in one, three in two, three in all". Social life should all follow the law "Tao" and finally return to nature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

==Yang Hui 阳慧==
1.孔子追求的“礼”，是西周时的等级名分制度。为了实现“礼”，孔子进一步提出了“正名”的主张。

Confucius's pursuit of " rites " is the Western Zhou Dynasty hierarchy system.In order to realize the " rites ", Confucius further put forward the " rectification of name ".

The "ritual" pursued by Confucius was the hierarchical system of the Western Zhou Dynasty. In order to realize "li", Confucius further proposed the idea of "rectification of name".--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:59, 19 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象,为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:39, 18 December 2020 (UTC)

Since the introduction of reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:11, 20 December 2020 (UTC)

==Yang Yue 杨悦==

1、孔子是中国思想史上第一个把道德作为做人和治国首要条件和最高标准提出来的哲人。道德的核心是仁。儒家提倡人与人之间的仁和礼。今天，在中国和其他许多国家，儒学的研究正在迅速增长。

Confucius was the first philosopher in China's ideological history to propose moral standards as the prior criterion for man's behaviour and governing a country.The core of morality is benevolence. Confucianism advocates benevolence and courtesy among people. Today, in China and many other countries, the study of Confucianism is rapidly growing.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Confucius was the first philosopher in the history of Chinese thought to put morality as the primary and highest standard for being a man and governing a country. The core of morality is benevolence. Confucianism advocates benevolence and etiquette among people. Today, in China and many other countries, the study of Confucianism is growing rapidly. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。

Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Taoism is a religion inherent in China, with a history of more than 1,800 years. It is deeply rooted in the fertile soil of China, with distinctive Chinese characteristics, and a profound impact on overall Chinese culture. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

==Yang Ziling 杨子泠==

孔子在卫国住了约10个月，因有人在卫灵公面前进谗言，卫灵公对孔子起了疑心，派人公开监视孔子的行动，因此孔子带弟子离开卫国，打算去陈国。

Confucius lived in Wei State for about 10 months. Due to someone advancing slander in front of Duke Ling of Wei, he became suspicious of Confucius and sent people to publicly monitor Confucius. Therefore, Confucius led his disciples to leave Wei and planned to go to Chen State. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Daoism inherited and developed Taoism thought in the pre-Qin period, taking "Dao" as the highest belief, evolving from it the highest classics, the highest Daoism and the supreme gods, and building a huge system of classic Daoism gods. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

1. Confucius stayed in Wei for about 10 months, but when someone slandered him in front of Duke Weiling, he became suspicious of Confucius and sent people to monitor his movements openly. Therefore, Confucius left Wei with his disciples to Chen.

2. Inheriting and developing the pre-Qin dynasty Taoist thought, it holds “Tao” as the highest belief, evolving the highest classics, the highest Taoist arts and the highest deities, forming a huge system of classical Taoist arts and deities.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:22, 17 December 2020 (UTC)Yang Chenting

==Yi Zichu 义子楚==

==You Yuting 游雨婷==

1.在长期的教学实践活动中，孔子积累和总结了很多教学经验。他主张因材施教，根据学生的不同特点分别指导。

In the long-term teaching practice, Confucius has accumulated and summarized a lot of teaching experience. He advocated teaching students in accordance with their aptitude and instructing them separately according to their different features.

In the long-term teaching practice activities, Confucius has accumulated and summed up a lot of teaching experience. He advocates teaching students in accordance with their aptitude and guiding students according to their different characteristics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 14:01, 19 December 2020 (UTC)

2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。

As a religious entity, Taoism not only has its unique classical doctrine, immortal belief and ritual activities, but also has its religious inheritance, organization of religious groups, system of discipline and places for religious activities.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:27, 18 December 2020 (UTC)

==Yu Ni 余妮==
1.孔子的经济思想最主要的是重义轻利、“见利思义”的义利观与“富民”思想。这也是儒家经济思想的主要内容，对后世有较大的影响。

The most important economic thought of Confucius is the value of justice over profit, the view of righteousness and benefit, and the thought of enriching the people. This is also the main content of Confucian economic thought, which has great influence on later generations.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Confucius'economic thought mainly consists of the concept of justice and benefit, the concept of justice and benefit and the thought of enriching the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:41, 18 December 2020 (UTC)

2.道教哲学和宗教已经渗透到所有受中国影响的亚洲文化中，尤其是越南、日本和韩国的文化。在受中国文化影响的地区，各种宗教习俗让人想起道教，这表明他们与中国游客和移民的早期接触还没有被阐明。

Daoist philosophy and religion have found their way into all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Daoist philosophy and religion have infiltrated all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 18 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。

Taoism before liberation was represents strong feudal atmosphere. It became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

Taoism before liberation was in strong feudal atmosphere. Therefore, it became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:29, 17 December 2020 (UTC)

孔子，姓孔，名丘，字仲尼，公元前551年，出生于春秋后期的鲁国。

Confucius is known as Kong Qiu, a combination of his surname and his given name, and he is also named as Zhongni, which is his courtesy name.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

==Zeng Liang 曾良==
1.儒教是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。
Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has continued to be admired by scholars of Confucianism and remined vitality until today.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in our country, Taoism is the only one that originated in China and was founded by Chinese, so it is also called a local religion of China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。
Confucianism had equal status with other schools of thought in the pre Qin period. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "deposing hundreds of schools of thought and respecting Confucianism alone", so as to reinvigorate Confucianism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

==Zhang Hui 张慧==

1.身处乱世的孔子所主张的仁政没有施展的空间，但在治理鲁国的三个月中，使强大的齐国也畏惧孔子的才能，足见孔子无愧于杰出政治家的称号。

The benevolent government advocated by Confucius in troubled times has no room for display, but during the three months of ruling Lu State, the powerful Qi State also feared Confucius’ talents, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

In the troubled times, Confucius' benevolent rule had no room to be exercised, but in the three months he ruled the state of Lu, he made even the powerful state of Qi fear Confucius' talent, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Taoism inherited and developed Taoism thought in the pre-Qin period, taking "Tao" as the highest belief, and evolving from it the highest classics, the highest Taoism and the highest gods, and building a huge system of classic Taoism gods.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

Taoism inherited and developed Taoist thought from the pre-Qin dynasty, taking "Tao" as the highest belief, evolving from it the highest classics, the highest Taoist arts and the highest deities, and building a huge system of classical Taoist deities.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

==Zhang Ling 张玲==

1. 孔子63岁时，曾这样形容自己：“发愤忘食，乐以忘忧，不知老之将至。”当时孔子已带领弟子周游列国9个年头，历尽艰辛，不仅未得到诸侯的任用，还险些丧命，但孔子并不灰心，仍然乐观向上，坚持自己的理想，甚至是明知其不可为而为之。

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, but he almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, and even almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:52, 18 December 2020 (UTC)

2. 作为中华文化最重要的两翼，道家和儒家的关系比较复杂，它们之间有互相学习的一面，也有互相对立的一面。

As the two most important components of Chinese culture, Daoism and Confucianism have a complicated relationship, with both learning from each other and opposing each other. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

As the two most important wings of Chinese culture, Taoism and Confucianism have a complex relationship. Specifically, they are mutually reinforcing and antagonistic.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:34, 17 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
道教是中国的本土宗教，道教主张天人合一，东汉末年出现大量的道教组织。

Taoism is China's indigenous religion advocating the unity of heaven and man.The end of the Eastern Han Dynasty appeared a large number of Taoist organizations.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Taoism is an indigenous religion of China and it advocates the unity of heaven and man. A large number of Taoist organizations appeared in the late Eastern Han Dynasty. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

儒学思想，是先秦诸子百家学说之一。儒学文化是以儒家学说为指导思想的文化宗派，为春秋时期孔丘所创。

Confucianism is one of the schools of thought in the pre-Qin dynasty. Confucianism is a school of culture guided by Confucianism. It was created by Confucius in the Spring and Autumn Period.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is a cultural sect with Confucianism as its guiding ideology, created by Confucius during the Spring and Autumn Period. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is guided by Confucianism and created by Confucius during the Spring and Autumn Period.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:50, 20 December 2020 (UTC)

==Zhang Weihong 张维虹==

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.儒家经书是四书五经，但儒家早期以五经为主，在佛教禅宗的挑战下，宋代程朱理学以四书取代五经的地位。

The Confucian scriptures are the Four Books and Five Classics. However, the early Confucianism was dominated by the Five Classics. Under the challenge of Zen Buddhism, the neo-Confucianism of Song Dynasty replaced the Five Classics with the Four Books.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

The Confucian scriptures are the Four Books and Five Classics, but the early Confucianism was dominated by the Five Classics. Under the challenge of Buddhist Zen Buddhism, the Song Dynasty's Cheng-Zhu Theory replaced the status of the Five Classics with the Four Books.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

The scriptures of confucianism are the Four Books and Five Classics, in which the majority is the latter one at the prelimetary stage, but then the Four Books got the upper hand under the theory of Chen-zhu in the Song Dynasty.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:41, 18 December 2020 (UTC)

2.春秋时期，老子总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。道家是对中华哲学、文学、科技、艺术、音乐、养生、宗教等影响最深远的学派。

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Daoism, marking the formal formation of Daoism. Daoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Taoism, marking the formal formation of Taoist thought. Taoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

==Zhang Yujie 张毓婕==
孔子是中国古代思想家、政治家、教育家，儒家学派创始人。

Confucius is an ancient Chinese thinker, statesman, educator, and founder of the Confucian school.

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion。

==Zhang Yuxing 张宇星==

1. 孔子是中国著名的思想家、教育家、政治家，与弟子周游列国十四年，晚年修订六经，即《诗》《书》《礼》《乐》《易》《春秋》。

Confucius was a famous Chinese thinker, educator and statesman who traveled around ancient China with his disciples for 14 years and revised the Six Classics in his later years, namely, The Book of Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annuals.

2. 庄子的文章，想象奇幻，构思巧妙，多彩的思想世界和文学意境，文笔汪洋恣肆，具有浪漫主义的艺术风格，瑰丽诡谲，意出尘外，乃先秦诸子文章的典范之作。

Zhuangzi's writings are full of fantastical imagination, ingenious ideas, colorful world of thought and literary contexts, and unrestrained writing. They also fall to a romantic artistic style which is magnificent and deceitful, boasting for masterpieces among those in the pre-Qin plutocrats.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:19, 20 December 2020 (UTC)

==Zhao Xi 赵茜==

==Zhao Xiaoyan 赵晓燕==
1.孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage of heaven" and "the mudor of heaven" during his lifetime.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Confucius was one of the most erudite scholars in society at that time. He was honored as the "Sage of Heaven" and "Wood Duo of Heaven" when he was alive. The most sacred Wenxuan Wang Xianshi, Wanshishishi.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage from heaven" and is honored as "the mudor of heaven" nowadays.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 04:05, 17 December 2020 (UTC)

2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Taoism has had a profound impact on the politics, economy and culture of our ancient times and was one of the three spiritual pillars of the ruling class.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

==Zhou Yiwen 周艺文==

==Zhou Yuanqu 周园曲==

==Zhu Meimei 祝美梅==

==Zhu Xu 朱旭==

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

1.Confucianism, the way of life propagated by Confucius (6th–5th century BCE) and followed by the Chinese people for more than two millennia.

儒教，是孔子（公元前6至5世纪）传播的生活方式，其后是中国人传播了两千多年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

儒家思想由孔子（公元前6-5世纪）传播一种生活方式，中国人已遵循的两千多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

2.Taoism, indigenous religion-philosophical tradition that has shaped Chinese life for more than 2000 years.

道教是一种固有的宗教哲学传统，已经改变了中国2000多年的生活。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

道教是中国的本土宗教，也是一种哲学传统，影响了中国2000多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

20201214 cult

2020-12-20T13:34:30Z

PINGKI TANCHANGYA 4: /* Pingki, Tanchangya */

==Alsied, Saffana==

==Cao Runxin 曹润鑫==
1.儒家精神有其相对稳定、不易改变的一面。它不完全受社会形态的影响，有较为普遍的适应性，可以跨越不同社会历史时期，被不同政治制度、不同经济形态和不同文化背景下的人们所接受。

The spirit of Confucianism is relatively stable and unchangeable. It is not entirely influenced by social forms and has a more universal adaptability, and can be accepted across different socio-historical periods and by people in different political systems, different economic forms and different cultural backgrounds.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

2.道家从维护个人利益的角度出发，在经济理论、社会实践方面创立了“人本”的思想观点，主张通过维护每个人的个人利益来达到社会的和谐繁荣。

From the perspective of protecting the interests of the individual, Taoism has created a "humanistic" ideology in economic theory and social practice, advocating that social harmony and prosperity can be achieved by protecting the individual interests of each person.--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 05:33, 20 December 2020 (UTC)

==Chen Han 陈涵==

1.儒家思想精髓在于它的社会伦理思想，正是封建社会伦理观从国家统治阶级的高度期望出发将人们生活现实中的行为规范用通俗的语言规范起来，让农民成为社会道德思想的奴隶，而这种封建伦理观作为封建统治阶级上层建筑社会意识中的最广泛影响治理社会群众基础的核心，从而完成对国家社会双重治理的理想效果。

The essence of Confucianism lies in its social ethical thought. It is the thought of feudal society that regulates the behavior norms of people’s lives in popular language from the high expectations of the country’s ruling class, making the peasants be enslaved to social ethics. As the core of the social consciousness of the feudal ruling class superstructure, which has the most extensive influence on governing the society and the people, it has achieved the ideal effect of dual governance of the state and society. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

2.道教把生命看得极为重要，修道就是要长生不死，主张通过修炼来延长生命的长度，提高生命存在的质量，以达到生命的永恒。道教主张以清净无为、不争寡欲的态度对待世俗生活，以“我命在我不在天”的精神进行修炼，通过各种道术修炼，与道合一，成为长生不死的神仙。

Taoism regards life as extremely important and practicing Taoism is to become immortal. It advocates to extend the length of life and improve the quality of life by practicing, so as to achieve eternity of life. Taoism holds an attitude of purity and non-contentiousness towards worldly life, and cultivation in the spirit of "I am the master of my fate", so that through various Taoist practices, one can unite with the Tao and become an immortal deity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:04, 18 December 2020 (UTC)

==Chen Jingjing 陈静静==

1.孔子生而七漏，头上圩顶，而又因其母曾祷于尼丘山，故名“丘”，字“仲尼”。

Confucius was born terribly ugly with a bump on the head, and as his mother once prayed on Mount Niqiu for his birth, he is named “Qiu” with the word “Zhongni”.

2.道家认为只有老百姓认可的平等才幸福，人们想要没有徭役租赋负担，“内足衣食之用，外无势利之争”的社会

Taoism claims that only the sort of equality that the ordinary people recognized will bring true happiness. People are yearn to be free from labour rent and taxes and to live in a society with adequate food and clothes and no struggle for power and gains.

==Dashkin, Gennadii==

1. It's generally believed that when Confucius was in his late 60s, he returned to his hometown Qufu in Shandong Province. For several years in his early 70s, he taught a group of disciples who later propagated his beliefs and developed their own philosophies.

人们普遍认为，孔子在六十多岁时回到了他的家乡山东曲阜。在70年代初期的几年中，他教过一群门徒，后来这些人传播了自己的信仰并发展了自己的哲学。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

我们通常认为，孔子在六十多岁时回到了他的家乡山东曲阜。在七十多岁的前几年，他教过一群门徒，后来这些人传播了他的信仰并发展了自己的哲学。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

2. Consequently, many leaders of Taoism had gained great respects from the imperial governments.

因此，许多道教领袖得到了帝王政府的尊敬。--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:07, 19 December 2020 (UTC)

因此，许多道教领袖都受到了朝政的尊敬。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 02:14, 20 December 2020 (UTC)

==Chen Yongxiang 陈永相==
1. 孔子提出“有教无类”，认为人人都应该受教育。在教育实践中创立了灵活多样的教学方法，提倡“学”与“思”的结合、学习与复习的结合以及教与学的结合，讲求因材施教和启发式教学等等。

Confucius maintained the idea that everyone has the right to be educated despite class differences. In teaching practice, Confucius adopted flexible teaching methods which involve the combinations of learning and thinking, learning and reviewing as well as teaching and learning. He strived for educating students in accordance with their aptitude and adopted a heuristic style of teaching.

Confucius put forward "there is no kind of education," and believed that everyone should be educated. In educational practice, flexible and diverse teaching methods have been created, advocating the combination of "learning" and "thinking", the combination of learning and review, and the combination of teaching and learning, and emphasis on teaching students in accordance with their aptitude and heuristic teaching, etc.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

2. 道家强调自由、自然、修身养性，甚至追求永生。道教对中国文化的许多领域都产生了深刻而持久的影响，包括艺术、哲学、医学和美食，并在东亚地区广泛流传。

Daoism emphasizes freedom, nature, self-cultivation and even pursues immortality. Daoism has had a deep and lasting influence in many fields of Chinese culture, including the arts, philosophy, medicine, and cuisine. It has also spread widely throughout East Asia.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:18, 19 December 2020 (UTC)

Taoism emphasizes freedom, nature, self-cultivation, and even the pursuit of immortality. Taoism has had a profound and lasting influence on many areas of Chinese culture, including art, philosophy, medicine, and gastronomy, and it has spread widely in East Asia.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:11, 19 December 2020 (UTC)

==Ding Daifeng 丁代凤==

1.孔子的哲学思想强调个人美德和政治原则、和谐的社会秩序以及公正和真诚的社会环境。

The philosophy of Confucius emphasized personal and governmental morality, correctness of social relationships, justice and sincerity. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

The philosophy of Confucius emphasizes on personal morality, political principles, harmonious social order, justice, and sincere social environment.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

2.老子是中国历史上伟大的哲学家、作家。他不仅是道家的创始人，也成为了道教中供奉的一位神祇。

Laozi is a great philosopher and writer in Chinese ancient history. He is not only the founder of philosophical Daoism, but also worshipped as a deity in religious Daoism. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:23, 20 December 2020 (UTC)

Laozi, a great philosopher and writer in Chinese history, had not only became the founder of Taoism, but also a deity worshipped by Taoism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:30, 20 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.儒家思想以传统封建社会为物质承担者，传统封建社会以儒家思想为精神承担者，传统社会的瓦解，致使孔子圣人权威丧失。

The Confucianism takes traditional feudal society as material undertaker while the latter takes the former as sipiritual undertaker. Therefore, the disintegration of traditional society causes the Sage Confucius to lose his authority.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Confucianism takes the traditional feudal society as its material undertaker, while the traditional feudal society takes Confucianism as its spiritual undertaker. The collapse of the traditional society leads to the loss of Confucius’ authority.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

2.道家作为一种思想流派，崇尚大道，主张“惟道是从、道法自然”，主要从事的是学术活动和政治文化活动，奉《道德经》、《庄子》、《黄帝四经》等为经典。

As a school of thought, Taoism advocates the great truth and follows the principle of nature. It is mainly for academic, political and cultural activities and regards Tao Te Ching,Chuang-tzu and Huang Di Si Jing as classics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:00, 20 December 2020 (UTC)

Taoism, a school of thought, advocates the great truth and follows the principle of nature. It mainly serves academic, political and cultural activities and regards Tao Te Ching, Chuang-tzu and Four Classics of the Yellow Emperor as classics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:31, 20 December 2020 (UTC)

==Gao Mingzhu 高明珠==
1、“儒学”、“儒家”、“儒教”这些概念要分清。儒学作为一种学说，儒家作为一个阶层，儒教作为一种信仰，三者需要区分开来。

We should clearly distinguish the three concepts ---- Confucianism, Confucianist, Confucian religion, among which Confucianism is a theory and Confucianist is a strata and Confucian religion is a religion. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

The concepts of "Confucianism", "Confucianism" and "Confucianism" must be distinguished. Confucianism as a doctrine, Confucianism as a class, and Confucianism as a belief, the three need to be distinguished.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

2、在我国优秀传统文化中，道家思想蕴含了和谐理想、平等观念、诚信美德等诸多伦理智慧，这些思想很多都与社会主义核心价值观具有相通性，它们为社会主义核心价值观构筑了坚实的文化沃土。

In Chinese excellent traditional cultures, Taoism contains such ethics and wisdom as the desire for harmony, the idea of equality and the virtue of honesty, many of which have commonalities with the core values of socialism and have laid a solid cultural foundation for the core values of socialism. --[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:44, 18 December 2020 (UTC)

In Chinese excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.

In my country’s excellent traditional culture, Taoism contains many ethical wisdoms, such as the ideal of harmony, the concept of equality, and the virtue of honesty. Many of these ideas have similarities with the core socialist values. They have built a solid cultural fertile ground for the core socialist values.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 08:57, 20 December 2020 (UTC)

==Grosheva, Anna==

1. Confucianism is the main ancient philosophy of China. It implicitly embodies key aspects of Chinese culture. Confucian beliefs have constantly changed and developed over the past 2,500 years.
儒学是中国的主要古代哲学。它隐含了中国文化的关键方面。在过去的2500年中，儒家信仰不断变化和发展。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

2. During its popularization since its birth, Taoism had long been a kind of high-level culture, and widely pursued by the upper-class society.
道教自诞生之日起就一直是一种高级文化，并受到上层社会的广泛追捧。--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:56, 19 December 2020 (UTC)

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

==Gui Yizhi 桂一枝==

1. 四书五经是儒家施行其儒学教化的重要教科书，中国古代文人科举做官的必读书。

The Four Books and The Five Classics are the most important textbooks for the Confucian scholars to disseminate the educational thoughts of the Confucian School and a must for ancient scholars who had to pass the imperial competitive examination to become government officials.

2.道，代表宇宙本体和法则的统一，高度的抽象性与普遍意义是它的特点。

Tao, which refers to the integration of the noumenon and rules of the cosmos, is characterized by its deep abstraction and universal significance.--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 12:33, 20 December 2020 (UTC)

==Guirou, Barthelemy==

==Guo Lu 郭露==
1. 孔子是我国古代伟大的思想家和教育家,儒家学派创始人,世界最著名的文化名人之一。孔子的言行思想主要载于语录体散文集《论语》。

Confucius was a great thinker of ancient China and educator, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.

Confucius is a great thinker and educator in ancient China, he is also the founder of Confucianism and one of the world's most famous cultural figures. His words and deeds were mainly recorded in his work ''The Analects''.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:44, 18 December 2020 (UTC)

2.道教(或道教)是指各种相关的中国哲学传统和概念的英文名称。这些传统影响了东亚两千多年，有些还在国际上传播。道家的礼教和伦理强调 "道 "的三宝，即“慈、俭、让”。道家思想注重 "无为"、"人本"、"虚无"。无为常常被错误地翻译为（"无所作为"），这种错误由于非道家学者的翻译而广泛传播。道教强调人与自然的联系。道教认为，这种联系减少了对规则和秩序的需要，使人更好地理解世界。

Taoism (or Daoism) is the English name referring to a variety of related Chinese philosophical traditions and concepts. These traditions influenced East Asia for over two thousand years and some have spread internationally. Taoist propriety and ethics emphasize the Three Jewels of the Tao; namely, compassion, moderation, and humility. Taoist thought focuses on wu wei (" action that does not involve struggle or excessive effort" ) spontaneity, humanism, and emptiness. Wu wei is often incorrectly translated as ("non-action") and this error has propagated widely as a result of translations made by academics who are non practising Taoists. An emphasis is placed on the link between people and nature. Taoism teaches that this link lessened the need for rules and order, and leads one to a better understanding of the world.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:12, 17 December 2020 (UTC)

==Ha, Thi Thu Hang==

==He Changqi 何长琦==

==Hu Baihui 胡百辉==
1.孔子是中国儒学的创始人。两千余年来，儒家思想对中国的影响不仅体政治、政治、文化等方面，也体每一个中国人的行为和思维方式之中。

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of Confucianism on China is not only in politics, politics, culture and so on, but also in the behavior and mode of thinking of every Chinese.

Confucius is the founder of Confucianism in China. For more than two thousand years, the influence of his Confucianism on China is not only in politics,culture and so on, but also in the behavior and mode of thinking of every Chinese.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

2.道教在世界宗教中是独一无二的，因为它没有官方的教条和教义。它最重要的文本是《道德经》和《庄子》，这两本书可能被认为是文学或哲学作品，而不是宗教文本。

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy more than religious texts. --[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:56, 18 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered works of literature or philosophy instead of religious texts.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:04, 19 December 2020 (UTC)

Daoism is unique among world religions in that it has no official dogma or doctrine. Its most important texts are The Tao Te Ching and The Chuang Tzu, both of which might be considered as works of literature or philosophy rather than religious texts.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:34, 20 December 2020 (UTC)

==Hu Jin 胡瑾==
1. 孔子是儒家学派的创始人，也是春秋时期人本主义思想的集大成者。儒家思想已成为我们文化遗产中的一部分。

Confucius was the founder of the Confucian school and the main Humanist thinker of the Spring and Autumn Period. Confucian ideas have become part of our cultural inheritance.

Confucius was the founder of the Confucianism and the major Humanist thinker in the Spring and Autumn Period, whose ideas have become part of our cultural inheritance.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:06, 18 December 2020 (UTC)

Confucius was the founder of the Confucian school and a master of humanistic thoughts in the Spring and Autumn Period. And Confucianism has become a part of our cultural inheritance.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 05:01, 19 December 2020 (UTC)

2. 传统上，道教是归因于三个来源，最古老的是黄帝传说，但最著名的是老子的《道德经》。第三个来源就是庄子的作品。道教的最初来源据说是古代的《易经》。

Traditionally, Taoism has been attributed to three sources, the oldest being the legendary ‘Yellow Emperor’, but the most famous is Lao Zi's Tao Teh Ching. The third source is Chuang Tzu's work. However, the original source of Taoism is said to be the Book of Changes.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 08:48, 18 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

孔子在中国历史上最早提出人的天赋素质相近，个性差异主要是因为后天教育与社会环境影响（“性相近也，习相远也”）。因而人人都可能受教育，人人都应该受教育。

Confucius was the first Chinese to argue that human beings are endowed with similar qualities, and personality differences are mainly due to the influence of education and social environment ("By nature men are similar to one another, but learning and practice make them different."). Thus, everyone could be and should be educated.

庄子在哲学思想上继承和发展了老子“道法自然”的思想观点，使道家真正成为一个学派，他自己也成为了道家的重要代表人物，与老子并称“道家之祖”。

Zhuangzi inherited and developed Laozi's philosophical idea of "the natural law", making Taoism an academic school, and he himself became an important representative of Taoism, known as "the ancestor of Taoism" together with Laozi.--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:54, 18 December 2020 (UTC)

Zhuangzi inherited and developed Laozi's idea of "Tao following nature" in philosophy, making Taoism a school of thought. He himself became an important representative of Taoism and was called "the ancestor of Taoism" with Laozi.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:05, 18 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==

1.儒家思想是先秦诸子百家学说之一，由孔子于公元前5世纪创立，是中国影响力最大的流派，也是中国古代的主流意识。儒家思想的内涵丰富复杂，在广泛汲取古代典籍精华的基础上逐步发展出基础理论和思想，即讲大一统、讲君臣父子。由程朱理学、陆王心学到废除封建君主专制制度等，都体现了儒家思想的内容。

Confucianism is one of the various schools of thought in pre-Qin period, established by Confucius in the 5th century BC. It is the most influential school in China and the mainstream ideology in ancient China. The connotation of Confucianism is rich and complex. On the basis of extensively absorbing the essence of ancient classics, it has gradually developed the basic theories and thoughts, namely, the great unification and the emperor and the subjects just like father and sons. Besides, the philosophy of Cheng and Zhu, the philosophy of Lu and Wang, the abolition of the feudal autocratic monarchy, and so on are all the embodiment of Confucianism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

2.道家思想是无所不能、永恒不灭，有辩证法因素和无神论倾向，是老子总结古老的道家思想所形成的完整系统理论，它以“道”为最高哲学范畴，认为“道”是世界的最高真理，是宇宙万物的本源，也是宇宙万物赖以生存的依据。其主流派有黄老学派，鬼谷子纵横家、修真派、法家学派、玄学、杨朱学派。无为、不争，是老子对君王的告诫，汉文帝、唐太宗、宋仁宗、明太祖等皆以道家思想治国，使人民从前朝苛政之后得以休养生息。

Taoism, omnipotent and eternal, with a tendency to dialectical factors and atheism, is a complete system of theories formed by Lao Zi by summarizing ancient Taoist thoughts. It takes "Tao" as the highest philosophy and truth, the origin of the universe, and also the basis for the existence of the universe. Its main schools are Huang Lao school, Guiguzi school, Xiuzhen school, Legalist school, metaphysics, and Yang Zhu school. Lao Zi persuaded emperors to do nothing and fight for nothing. And Emperor Wen of the Han Dynasty, Emperor Taizong of the Tang Dynasty, Emperor Renzong of the Song Dynasty and Emperor Taizu of the Ming Dynasty all ruled with Taoist thoughts, so that people could recover from the tyranny of the previous dynasty.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 04:48, 19 December 2020 (UTC)

==Kang Haoyu 康浩宇==
1. 理学是中国古代最为精致、最为完备的理论体系，其影响至深至巨。理学的天理是道德神学，同时成为儒家神权和王权的合法性依据，至南宋末期被采纳为官方哲学。

Neo-Confucianism is the most exquisite and complete theoretical system in ancient China, and its influence is profound and enormous. The natural principle of Neo-Confucianism is moral theology, which has become the legal basis of Confucian theocracy and kingship, and was adopted as official philosophy at the end of Southern Song Dynasty.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

2. 古代道家崇尚自然，有辩证法的因素和无神论的倾向，但是主张清静无为，反对斗争。

Ancient Taoism advocates nature, has dialectic factors and atheism tendency, but advocates quietism and opposes struggle.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:02, 19 December 2020 (UTC)

==Lei Fangyuan 雷方圆==

==Lei Kuangxi 雷旷溪==
1、儒家学派的创始人孔子第一次打破了旧统治阶级垄断教育的局面，变“学在官府”为“有教无类”，使传统文化教育播及到整个民族。因此儒家思想有了坚实的民族心理基础，为全社会所接受并逐步儒化了全社会。但是儒学在历史上也多次遭受严重冲击，近至满清的文字狱，毁古书严重的《四库全书》，远至秦始皇焚书令等。

Confucius, the founder of the Confucian school, broke the monopoly of the old ruling class on education for the first time, changed the "learning in the government" to "teaching without class", and spread traditional culture and education to the whole nation. As a result, Confucianism had a solid national psychological foundation and was accepted by society as a whole, which gradually became Confucianized. However, Confucianism has also suffered many serious impacts in history, from the Manchu Qing dynasty's written jails to the destruction of ancient books in the Siku Quanshu, and the Qin Shihuang's book burning order.

Confucius, the founder of the Confucian school, broke the monopoly of education by the old ruling class for the first time, changing "study in the government" to "education without class", so that traditional cultural education spread to the entire nation. Therefore, Confucianism has a solid national psychological foundation, accepted by the whole society and gradually Confucianized the whole society. However, Confucianism has also suffered severe impacts in history many times, as far as the Manchu literary prison, the "Siku Quanshu", which has severely destroyed ancient books, and as far as the book burning order of Qin Shihuang.--[[User:Gennadii Dashkin|Gennadii Dashkin]] ([[User talk:Gennadii Dashkin|talk]]) 14:11, 19 December 2020 (UTC)

2、一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。从养生学源流的角度说：寿命无限。

It is generally believed that one of the characteristics of Taoist thought is to achieve the supreme perfection of eternal immortality through various cultivations, thus it creating the science of Chinese medicine and health and from the practice of alchemy, gunpowder was invented, and the four major inventions of China are all related to Taoism. From the perspective of the source of health science:it means infinite life span.--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:35, 18 December 2020 (UTC)Lei Kuangxi

==Li Lili 李丽丽==

1.董仲舒顺应汉武帝强权的需要，倡导“罢黜百家，独尊儒家”的思想。
Dong Zhongshu adapted to the needs of Emperor Wu of Han Dynasty to strengthen power, and advocated the idea of "deposing hundreds of schools and respecting Confucianism only". --[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

2.道家以“道”为核心，是“诸子百家”中一门极为重要的哲学流派，存在于中华各文化领域，对中国乃至世界的文化都产生了巨大的影响。
Taoism, with "Tao" as its core， is a very important philosophical school in "various schools of thought". It exists in all cultural fields of China and has a great impact on Chinese and even the world culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:49, 18 December 2020 (UTC)Li Lili

==Li Liqin 李丽琴==
1. 儒家在先秦时期和诸子百家地位平等，秦始皇焚书坑儒后，使儒家遭受重创。而后汉武帝为了维护封建专制统治，听从董仲舒“罢黜百家，独尊儒术”的建议，对思想实施钳制，使儒家重新兴起。历经两千多年的发展演变，儒学文化构建起完整的思想体系，涉及政治、教育、道德伦理、行为准则、生活技艺等诸多方面，长期涵养国人的智慧和心灵，形成固定思维、心理以及生存模式，可谓根深蒂固。

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

2. 《老子》是道家学派的主要著作之一，它的产生丰富了我国传统文化和思想宝库。老子是道家思想的创始人，他提出了许多重要的范畴和观点，在中国哲学史上独放异彩，并给予后世以深远影响。

''Laozi'' is one of the main works of the Taoist School; its production enriches our country's traditional culture and stock house of thoughts. Lao Zi, the founder of the Taoism, proposed a lot of important views and conceptions which have original enchantment in Chinese philosophy, and influence the afterworld deeply. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:17, 16 December 2020 (UTC)

''Laozi'' is one of the main works of the Taoism and its production enriches our traditional culture and the treasury of thoughts. Lao Zi, the founder of the Taoism, proposed many important views and conceptions which have original enchantment in Chinese philosophy, and have a far-reaching influence on the afterworld.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:36, 17 December 2020 (UTC)

==Liu Liu 刘柳==

1.人道主义是人类永恒的主题，对于任何社会，任何时代，任何一个政府都是适用的，而秩序和制度社会则是建立人类文明社会的基本要求。

Humanity is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.

Humanitarianism is the eternal theme of humanity, applicable to any society, any era, any government, while order and institutional society are the basic requirements for building a civilized human society.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

Humanity is the eternal theme of human society, and it is applicable to any society, any era, and any government. Order and institution is the basic requirement for building a civilized human society.
----

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in China, Taoism is the only religion that originated in China and was founded by Chinese people, so it is also known as a native religion.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:38, 17 December 2020 (UTC)

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as a native religion.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:14, 17 December 2020 (UTC)Xiao Shuangling

==Liu Ou 刘欧==

==Liu Yi 刘艺==
1、孔子的大同社会、小康社会理想对中国后世影响深远。后来不同历史时期，不同阶段的思想家提出不同内容的憧憬蓝图和奋斗目标，这种思想对进步思想家、改革家也有一定启发，洪秀全、康有为、谭嗣同和孙中山都受其影响。

Confucius' ideal of a commonwealth society and a moderately prosperous society had a profound influence on later generations in China. Later on, thinkers at different stages of history put forward different content of visionary blueprints and goals to strive for, and such ideas also inspired progressive thinkers and reformers, with Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Yat-sen being influenced by them.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

The social ideal of a commonwealth society and a moderately prosperous society from Confucius has posed profound impacts on China's future generations. Later, even in sundry historical times, miscellaneous idealists put forward different blueprints and struggle goals, which indicated that Confucius ideal has inspired advanced idealists and refomers, including Hong Xiuquan, Kang Youwei, Tan Sitong and Sun Zhongshan.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:20, 17 December 2020 (UTC)

2、新中国成立后，对旧社会道教中存在的一些不合理制度和陋习进行了改革，道教的面目为之一新。中国道教协会的成立实现了全国道教徒的大联合，广大爱国道教徒开始为发展道教事业共同努力。道教在反右斗争、大跃进、人民公社化等政治运动中受到波及。

After the founding of New China, some unreasonable systems and bad practices that existed in Taoism in the old society were reformed, and Taoism took on a new face. The establishment of the Chinese Taoist Association realized the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:35, 16 December 2020 (UTC)

After the founding of the People's Republic of China, Taoism was out of some unreasonable systems and bad practices in the old society were reformed and it then took on a new face. The establishment of the Chinese Taoist Association promoted the unification of Taoists nationwide, and the majority of patriotic Taoists began to work together for the development of Taoism. However, Taoism was affected by political movements such as the anti-rightist struggle, the Great Leap Forward, and the Communization of the People's Commune.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 05:06, 17 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
从鸦片战争到戊戌变法是新儒学的准备阶段，这一阶段主要表现为儒家学者在西方文明冲击之下被动接受西方文明的一些内容以求自强。
The period from the Opium War to the Hundred Days Reform was the preparatory period of Neo-Confucianism,which was characterized by the passive acceptance of some elements of Western civilization by Confucian scholars in order to strengthen themselves under the impact of Western civilization.

道教源于神仙思想和神仙方术。虽神仙方术没有系统的理论，但神仙家信仰的方术被道教承袭，神仙方术演化为道教的修炼方术，神仙方士演化为道家的道士。
Taoism originated from the idea of the divine immortals and the divine immortal arts. Given the fact that there is no systematic theory of divine and immortalism, the divine and immortalist beliefs were inherited by Taoism. The divine and immortalist prescriptions evolved into Taoist cultivation prescriptions, and the divine and immortalist practitioners evolved into Taoist priests.--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:21, 18 December 2020 (UTC)

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 孔子（公元前551～公元前479）名丘，字仲尼，是中华文化思想的集大成者，儒家学说的创始人。我国古代伟大的思想家、政治家、教育家。他的哲学思想提倡“仁义”，“礼乐”，“德治教化”,儒学思想渗入中国人的生活，文化领域中，同时也影响了世界上其它地区的大部分人近两千年。

Confucius (551BC-479 BC), whose name is Qiu, courtesy name Zhong Ni, is the master of Chinese culture and thought and the founder of Confucianism. He is a great thinker, statesman and educator in ancient China. His philosophy advocated "benevolence and righteousness", "rites and music", and "moral education". Confucianism permeated the life and culture of the Chinese people, and also influenced most people in other parts of the world for nearly two thousand years.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 19 December 2020 (UTC)

2 在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Among the five major religions in China, Taoism is the only one that originated in China and was founded by the Chinese, so it is also known as the native religion. Taoism had a profound influence on the politics, economy and culture of ancient China and was one of the three spiritual pillars of the ruling class. After the founding of the People's Republic of China, Taoism gained a new life through the democratic reform of the religious system and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the religious policies of the Party and the government in the new era, Taoism in China has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, reunification of the motherland and world peace.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:14, 19 December 2020 (UTC)

==Luo Weijia 罗维嘉==

==Luo Yuqing 罗雨晴==

1.在大同的世界里，天下的人，不止以自己的家人为亲，不止以自己的父母儿女为爱，而是相互敬爱，爱天下所有的人。使老有所终，壮有所用，孩子们都能获得温暖与关怀，孤独的人与残疾者都有所依靠，男人各自有自己的事情，女人有满意的归宿。

Love each other not only in our family, but also in the world. Make the old have a home, strong and useful, children can get warmth and care, lonely people and the disabled can rely on others, men have their own businesses, women have a satisfactory home.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

2.儒家认为平等是来自于人性，人性是善良的那么人类社会也应该是善良的，既被证成的平等；而道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Confucianism believes that equality comes from human nature, and human nature is good, so human society should also be good, which is proved to be equality; while Taoism believes that equality has achieved good results in the past, then on the basis of the existing equality cognition, the society should develop better now and in the future. However, the Confucian ethical class hindered the development of human beings and became the banner of exploiting the common people by the feudal lords，therefore, it is necessary to eliminate all kinds of ideologies without benevolence, to achieve a society that is satisfactory to all human beings, which is already recognized as equality.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:51, 19 December 2020 (UTC)

==Mo Ling 莫玲==

1.君子坦荡荡，小人长戚戚。

A gentleman is open and poised; while a petty man is unhappy and worried.

The gentleman is calm and at ease, while the small man is always full of anxiety. --[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

2.人法地，地法天，天法道，道法自然。

The person reflects the earth.The earth reflects heaven. Heaven reflects the Way. And the Way reflects its own nature.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:46, 17 December 2020 (UTC)Mo Ling

Men must conform to the earth, earth to heaven, heaven to Tao and Tao to nature.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:45, 17 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==

1. 经由董仲舒重新解释和发挥的儒教教义，十分重视礼仪制度的建设，特别是其中祭天、祭祖的礼仪制度建设。完备而复杂的礼仪制度有助于人们养成遵守秩序、安分守己的习惯，这正是儒教重视礼仪的重要目的之一。

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and bahaving properly, which is one of the important purposes for Confucianism to emphasize rites.

Dong Zhongshu's reinterpretation of Confucian doctrines attached great importance to the construction of ritual system, especially that of offering sacrifices to heaven and ancestors. A complete and complex ritual system helps people to develop the habit of abiding by order and conducting themselves, which is one of the important purposes for Confucianism to emphasize rites.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:17, 19 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。

Daoists regard Tao as the origin of the world. In politics, they uphold that Tao is to conform to the nature and advocated governing by doing nothing. According to the understanding of Tao and doing nothing, there are different denominations of Daoism focusing on different thoughts, some of which focus on governing and some on self-cultivation.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:25, 17 December 2020 (UTC)

==Peng Ruihong 彭锐宏==

1.儒家原先是先秦诸子百家之一，其创始人是孔子。儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。

Confucianism was originally one of the hundred schools of pre-Qin scholars, whose founder was Confucius. In the pre-Qin period, Confucianism had equal status with all scholars. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "removing a hundred schools of thought and respecting Confucianism", and imposed a restraint on ideology, which revived Confucianism.

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion. Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.

==Phyo, Su Kyi==
1-儒家通过等级制度的传播而传播。这种宗教是由于中国人对邻国的影响而传承的。儒家思想从其在山东的地盘传到了中国的北部和南部地区。

Confucianism diffused through hierarchical diffusion. This religion was passed on through the Chinese's influence on their neighboring countries. Confucianism spread from its hearth in the Shandong province into China's northern and southern territories.

2-道教或道教是中国血统的哲学传统，强调与道家和谐相处。道是大多数中国哲学流派的基本思想。然而，在道教中，它表示的原则是存在的一切的来源，模式和实质。

Taoism, or Daoism, is a philosophical tradition of Chinese origin which emphasizes living in harmony with the Tao. The Tao is a fundamental idea in most Chinese philosophical schools; in Taoism, however, it denotes the principle that is the source, pattern and substance of everything that exists. --[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:43, 18 December 2020 (UTC)Su kyi

==Pingki, Tanchangya==
1. 孔子出生于2500年前。孔子是17世纪的耶稣会传教士，他称他为孔子。
Confucius was born over 2,500 years ago. Confucius was the Jesuit missionaries of the 17th century who called him Confucius and this latinate name has since become known to the west.

2. 儒家思想是中国古代的一种信仰体系，即人类从根本上讲是善良，可教和可改进的。
Confucianism is an ancient Chinese belief system that human beings are fundamentally good and teachable and improvable.

3. 道教是中国两种伟大的本土哲学传统之一。老子，准子和道教描述了自汉末以来各种所谓的“宗教”运动。
Daoism is one of the two great indigenous philosophical traditions in China. Laozi, Zhunzi and Daojiao describe various so-called "religious" movements since the end of Han Dynasty.

4. 道教甚至没有说出一位开国思想家所建立的传统，甚至是通过一个共同的信念，即一位名叫老子的老师创立了这所学校并写下了它的主要著作，称为道德经，有时也被称为老子。
Daoism does not name a tradition constituted by a founding thinker even through the common belief is that a teacher named Laozi originated the school and wrote it's major work, called the Daodejing， sometimes known as the Laozi.

==Qu Miao 瞿淼==

==Rajabov, Anushervon==

1. Confucius is regarded as a great philosopher and a great sage of ancient China.

孔子是中国古代的伟大哲学家和圣贤。

2. Confucianism, a major official system of thought in China, originated from the teachings of Confucius.

儒家思想是中国的主要官方思想体系，它源于孔子的教.

3. Daoism has a god for almost everything: the sun, the moon, stars, wind, rain, thunder, lightening, mountains and rivers.

道教几乎所有的事物都有上帝-太阳，月亮，星星，风，雨，雷声，闪电，山脉和河流。

4. Daoism was also associated with alchemy, which was at one time a practical way of seeking the elixir of life by the transmutation of base matter into gold.

道教还与炼金术有关，炼金术曾经是一种通过将基础物质转化为黄金来寻求生命之药的实用方法。--[[User:RAJABOV ANUSHERVON 10|RAJABOV ANUSHERVON 10]] ([[User talk:RAJABOV ANUSHERVON 10|talk]]) 12:32, 20 December 2020 (UTC)

==Seydou, Sagara==
1Confucianism is often characterized as a system of social and ethical philosophy rather than a religion. In fact, Confucianism built on an ancient religious foundation to establish the social values, institutions, and transcendent ideals of traditional Chinese society.
2 Confucius father died when he was too young and he was teaching moral and physical training.
3 Daoism is a philosophy, a religion, and a way of life that arose in the 6th century BCE in what is now the eastern Chinese province of Henan. It has strongly influenced the culture and religious life of China and other East Asian countries ever since.
1儒教通常被描述为一种社会和伦理哲学体系，而不是一种宗教体系。实际上，儒家思想建立在古老的宗教基础上，旨在确立中国传统社会的社会价值观，制度和超越理想.
2孔子的父亲在年纪轻轻的时候就去世了，当时他正在教道德和体育锻炼.
3道教是公元前6世纪在现在的中国东部河南省兴起的一种哲学，一种宗教和一种生活方式. 从那以后，它对中国和其他东亚国家的文化和宗教生活产生了深远的影响.

==Shi Haiyao 石海瑶==

==Si Yu 司妤==

1.在汉代的儒家思想普及过程中，很多社会问题得到解决。儒家思想倾向于施用仁政管理国家，政治家们以此为根据，限制土地过分集中，建立完善的道德体系。

Many social issues were settled during the popularization of Confucianism in the Han Dynasty. Confucianism claimed benevolent governance in managing the country, according to which politicians limited the centralization of lands and built a comprehensive moral system.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

During the popularization of Confucianism in the Han Dynasty, many social problems were resolved. Confucianism tended to use benevolent governance to manage the country. Politicians used this as a basis to limit the excessive concentration of land and establish a sound moral system. --[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:17, 20 December 2020 (UTC)

2.道家认为过去平等已经有很好的发展成果，那么在现有的平等认知基础上现在以及未来社会应该发展的更好才是，但是儒家礼教阶层阻碍了人类发展并成为窃国诸侯剥削百姓的大旗，所以要非仁绝礼消解各种意识形态，得到一个人类都满意的社会，既被承认的平等。

Taoism proposed that equality had gained fine development in the past, on which equality in contemporary and future society should have a better development. But Confucianism’s feudalism and ethical codes hindered the human growth and became the banner of theft and exploitation of the people by the vassals, so it is necessary to dissolve the various ideologies of non-benevolence and ritual to get a society that is satisfactory to all human beings, namely, recognized equality.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 06:55, 20 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==

1. 董仲舒提出“春秋大一统”和“罢黜百家，独尊儒术”，强调以儒家思想为国家的哲学根本，杜绝其他思想体系。汉武帝采纳了他的主张。从此儒学成为正统思想，研究四书五经的经学也成为了显学。此时，孔子已死三百余年。董仲舒在具体的政策上将道家，阴阳家和儒家中有利于封建帝王统治的部分加以发展，形成了新儒家思想。

Dong Zhongshu proposed the "Great Unification of the Spring and Autumn Period" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.

Dong Zhongshu proposed the "Great Unification of the Nation" and the "Dismissal of the Hundred Schools and Exclusive Respect for Confucianism", emphasizing Confucianism as the philosophical foundation of the state and the elimination of other systems of thought. Emperor Wu of Han Dynasty adopted his ideas. From then on, Confucianism became the orthodoxy, and the study of the Four Books and Five Classics became a prominent school. At this time, Confucius had been dead for more than 300 years. Dong Zhongshu developed the parts of Taoism, Yin and Yang School and Confucianism that were beneficial to the rule of the feudal emperor in his specific policies, forming Neo-Confucianism.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:25, 19 December 2020 (UTC)

2. “道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。在中国哲学史上，“道”这一范畴为道家首先提出。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。这一变化经历了相当长的历史过程。春秋后期，老子最先把道看作是宇宙的本原和普遍规律，成为道家的创始人。以后，在不同的哲学体系中其涵义虽有不同，但基本上成为世界本原、本体、规律或原理的代名词。

"Tao" is an important category in ancient Chinese philosophy, which is used to describe the origin, essence, law or principle of the world. In the history of Chinese philosophy, the category of "Tao" was first introduced by the Taoists. The original meaning of Dao refers to the path, the straight path, and later it gradually developed into reason, which is used to express the regularity of things. This change has gone through a rather long historical process. In the late Spring and Autumn period, Laozi first regarded Tao as the origin and universal law of the universe and became the founder of Taoism. Later, although its meaning differs in different philosophical systems, it basically became a synonym for the origin of the world, the essence, the law or the principle.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 03:59, 17 December 2020 (UTC)

==Tang Bei 汤蓓==

1.孔子于公元前551年出生于现在的山东省，是中国古代著名的哲学家、政治家和教育家，也是儒家思想的创始人，“仁”和“礼”是其两大核心思想。孔子的儒家思想对中国和周边国家及地区乃至世界都有着深远的影响。2004年中国政府为了向外推广给汉语和传播中国文化，在海外建立了第一所“孔子学院”。

Confucius was born in 551 B.C. in the place where it is in Shangdong province now. He was a famous philosopher, statesman, educator in ancient China, and also the founder of Confucianism. “Humaneness” and “rites” are two of his core thoughts. Confucianism has had far-reaching influence on China, the surrounding countries and areas, and even the whole world. And in 2004, the Chinese government established the first Confucius Institute overseas for the purpose of promoting Chinese language and publicizing Chinese culture.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

2.老子是中国古代著名的思想家、哲学家，是道家思想的创始人，也是世界百位历史名人之一。《道德经》是老子唯一的著作。朴素辩证法是老子哲学思想的精髓，而“无为”是其政治思想核心。即使在21世纪的今天，大至国家大家，小到个人的行为处事，老子的思想依然对社会有着深远的影响。

As the founder of Taoism, Laozi was a philosopher and thinker in ancient China, and he is one of the world’s 100 great eminent figures in history. Naive Dialectic is the essence of Laozi’s philosophical ideas, while non-action is the core of his political thoughts. Even in the 21th century, his thoughts still have pervasive influence on socirties, from such important things as state affairs to such trivial things as individual styles.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 07:53, 20 December 2020 (UTC)

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==

1.儒家思想指的是儒家学派的思想，由春秋末期思想家孔子所创立。孔子创立的儒家学说在总结、概括和继承了夏、商、周三代尊尊亲亲传统文化的基础上形成的一个完整的思想体系。

Confucianism refers to the thought of Confucianism, which was founded by the thinker Confucius in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

Confucianism refers to the thoughts of Confucianism, which was founded by Confucius，the thinker, in the late Spring and Autumn period. The Confucianism established by Confucius is a complete ideological system based on the summary, generalization and inheritance of the traditional culture of respecting relatives in Xia, Shang and Zhou Dynasties.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:04, 20 December 2020 (UTC)

2.道家的起源，可以一直追溯到春秋战国时期。道家思想的形成是以总结、发展、写著典籍为主要路径，每一次思想的跳跃都经历了极其长时间的众人积累，这也再一次的凸显了道家的生命力。

The origin of Taoism can be traced back to the spring and Autumn period and the Warring States period. Taoist thought is formed with summary, development, and writings of classics as the main path. Every leap of thought has experienced an extremely long time of mass accumulation, which once again highlights the vitality of Taoism.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:23, 18 December 2020 (UTC)

==Wang Xuan 王轩==
1. 孔子创立了以仁为核心的道德学说，他自己也是一个很善良的人，富有同情心，乐于助人，待人真诚、宽厚。“己所不欲，勿施于人”、“君子成人之美，不成人之恶”、“躬自厚而薄责于人”等等，都是他的做人准则。

Confucius founded the moral theory with benevolence as the core. He was also a very kind person, full of compassion, willing to help others, sincere and generous. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.

Confucius founded the moral theory with benevolence as the core. He himself was also a very kind person full of compassion who is willing to help others with sincerity and generousity. "Don't do to others what you don't want to do to others", "the beauty of a gentleman, the evil of a man who is not a man", "bow oneself to thick and thin blame to others", and so on, are his principles of conduct.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:34, 18 December 2020 (UTC)

2. 新中国成立后，通过宗教制度民主改革，中国道教获得了新生，逐渐走上了与社会主义社会相适应的道路。改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

After the founding of the people's Republic of China, through the democratic reform of the religious system, Chinese Taoism gained a new life and gradually embarked on the road to adapt to the socialist society. Since the reform and opening up, under the guidance of the party and the government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:06, 18 December 2020 (UTC)Wang Xuan

After the founding of the people's Republic of Chin, Chinese Taoism has gained a new life and gradually embarked on the road to adapt to the socialist society through its democratic reform of the religious system. Since the reform and opening up, under the guidance of the Party and the Chinese Government's religious policy in the new period, Chinese Taoism has shown an unprecedented new atmosphere, and has made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 07:29, 18 December 2020 (UTC)

==Wu Qiong 吴琼==

1. 孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,海人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound influence on China and its neighboring countries. He was the first person in Chinese history to devote himself to the cause of education, as he never tired of learning and never tired of the sea.

Confucius founded the school of Confucianism, profoundly influencing China and its neighboring countries. He was the first Chinese throughout history to devote himself to the cause of education, for never being tired of learning and teaching. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:33, 18 December 2020 (UTC)

1.孔子创建了对中国及其周边国家具有深远影响的儒家学派。他学而不厌,诲人不倦,首开私人讲学,是中国历史上致力于教育事业的第一人。
Confucius founded the school of Confucianism, which had a profound impact on China and its neighboring countries. He was the first person in Chinese history dedicating himself to the cause of education, as he never tired of learning and teaching.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:01, 20 December 2020 (UTC)

2. 道家以道为世界的本原，以柔弱因循为道的作用，在政治上主张无为而治，因为对道和无为的理解不同，所以内部又划分为不同派别，不同的学派之间思想重心也不同，或偏于治国，或偏于治身等。
Taoism takes the Tao as the origin of the world, and the role of the Tao is to be soft and follow the path. In politics, Taoism advocates the rule of inaction, and because of the different understanding of the Tao and inaction, it is divided into different schools, and the focus of thought differs between different schools, either favoring the rule of the state, or favoring the rule of the body, etc.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:08, 17 December 2020 (UTC)

==Wu Yilu 吴一露==
1.发愤忘食，乐以忘忧，不知老之将至云尔。

One studies too hard to have meal and indulges himself in knowledge too elated to worry，even failing to .aware the pending oldness.--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

2.一般认为道家思想的特征之一，是通过各种修炼而达到永恒不死的至高完美境界，“因而开创了中医养生学” ；又从炼丹实践中发明了火药，中国四大发明都与道教有关。

Generally, it is believed that one of the features of Taoism is to reach the ultimate perfect of immortality through various ways of practice. So the science of health maintenance of traditional Chinese medicine was established; in addition, gunpowder originated from alchemy practice, actually, the four ancient Chinese inventions are all related to Taoism.
--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:57, 20 December 2020 (UTC)

==Wu Zijia 吴子佳==

==Xiao Shuangling 肖双玲==

1.中庸精神随着时间的推移，其价值和重要性必将日益显现出来，这一点已经有所表现。中庸之道是世界上最具有连续性的文化，也是中国众多文化流派中最具有价值的核心精神和观念。

1.With the passage of time, the value and importance of the spirit of the mean will become increasingly apparent, which has already been demonstrated. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

With the passage of time, the value and importance of the spirit of the mean, already demonstrated, will become increasingly apparent. The Golden Mean is the most continuous culture in the world and the most valuable core spirit and concept among many cultural schools in China.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:27, 18 December 2020 (UTC)Wang Xuan

2.道教文学艺术就是以宣传道教教义、神仙长生思想以及反映其宗教生活为题材的内容的各种形式的文学艺术作品。文学艺术可以扩大道教的社会影响，进而提高道教的宗教素质。反过来，道教的神仙信仰也给中国文学艺术的发展巨大的影响。

2.Taoist literature and art are literary and artistic works in various forms that promote Taoist doctrines, the thoughts of immortal longevity, and reflect their religious life. Literature and art can expand the social influence of Taoism, thereby improving the religious quality of Taoism. In turn, Taoist belief in immortals has also had a huge impact on the development of Chinese literature and art.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:48, 17 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
1.儒家思想对中国文化的影响很深。传统的责任感思想、节制思想和忠孝思想，都是它和封建统治结合的结果，因此，儒家思想是连同我们当代在内的主流思想。儒学在中国存在几千年，对于中国的政治、经济等各个方面依然存在巨大的潜在影响。

Confucianism has had a profound influence on Chinese culture。The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism is the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has a huge potential influence on all aspects of Chinese politics and economy.

Confucianism has had a profound influence on Chinese culture. The traditional ideas of responsibility, moderation, and loyalty and filial piety are the result of its combination with feudal rule, and thus Confucianism has been the dominant ideology along with our contemporary times. Confucianism has existed in China for thousands of years and still has maintain a huge potential influence on all aspects of Chinese politics and economy.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:48, 18 December 2020 (UTC)

2．和谐文化建设是构建社会主义和谐社会的要义之一。中国传统道教文化对中国社会产生了深远的影响。在当今构建和谐社会的进程中,道教文化依然有其独特的存在价值。

The building of a harmonious culture is one of the essentials for building a harmonious socialist society. The traditional Chinese Taoist culture has had a profound influence on Chinese society. In the process of building a harmonious society today, Taoist culture still has its unique value to exist.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:14, 17 December 2020 (UTC)Xiao Ting

The construction of a harmonious culture is one of the essentials of a harmonious socialist society. Taoist culture, a traditional Chinese culture, has exerted a profound influence on Chinese society. It still embraces unique value in today's building of a harmonious society. --[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:29, 17 December 2020 (UTC)

==Xie Fan 解帆==
1.孔子学院是中外合作建立的非营利性教育机构，致力于适应世界各国（地区）人民对汉语学习的需要，增进世界各国（地区）人民对中国语言文化的了解。

Confucius Institutes are non-profit educational institutions jointly established by China and other countries. They are dedicated to meeting the needs of people in all countries (regions) for Chinese learning and promoting their understanding of Chinese language and culture.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

The Confucius Institute is a non-profit educational institution established through Sino-foreign cooperation, dedicated to meeting the needs of people around the world for Chinese language learning and enhancing their understanding of Chinese language and culture.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象，为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening up, under the guidance of the religious policies of the CPC and the government in the new era, Taoism in China has shown an unprecedented look and made positive contributions to promoting economic development, social harmony, reunification of the country and world peace.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 08:24, 18 December 2020 (UTC)

Since the reform and opening up, under the guidance of the Party and the government's religious policies in the new era, Chinese Taoism has taken on a new and unprecedented appearance, making positive contributions to the economic development, social harmony, reunification of the motherland and world peace.--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:57, 18 December 2020 (UTC)

==Xu Jia 徐佳==
1. 孔子去世后，其弟子及再传弟子把孔子及其弟子的言行语录和思想记录下来，整理编成《论语》。该书被奉为儒家经典。

After the death of Confucius, his students wrote down all conversations they had with their teacher and then compiled them into the Analects, which has been regarded as a classic of Confucianism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

After the death of Confucius, his disciples and re-disciples recorded the words and thoughts of Confucius and his disciples and compiled them into the ''Analects'', which is regarded as a classic of Confucianism.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

2. 《老子》书提出以“道”为核心的哲学思想体系。它以道为宇宙的根本，阐述了道的本质、特点及其运动变化的规律。

The book Laozi establishes a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:40, 18 December 2020 (UTC)Xu Jia

The book, ''Laozi'', presents a philosophical system of thought with the Tao as its core. It takes Tao as the root of the universe, and explains the nature and characteristics of Tao and its laws of movement and change.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:06, 18 December 2020 (UTC)

==Xu Jing 许静==
因此古儒实际上是在一个礼崩乐坏的时代，努力复兴西周价值的这样一个学派。离开了对西周这一套的分析，我们是没有办法认识古儒的。

Thus ancient Confucianism was in fact a school of thought striving to revive the values of the Western Zhou at a time when rituals and music were in ruins. It can not be fully understood without an analysis of Western Zhou.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

老子说：“上善若水，水善利万物而不争。”水无常形，顺势而为，为而不争，方达所愿。可以削平山川却堵不住流水。“不争先”不是不求上进，而是尊重自然规律，不破坏均衡，不因小失大、迷失自我。

Lao Tzu said, "Water is good for it is good for all things but does not compete." Water has no permanent form. It follows the trend and does not struggle to reach its destination. While it is possible to cut down mountains water can not be blocked. "It is not a matter of not striving for advancement, but of respecting the laws of nature, not destroying the balance, not losing oneself for the sake of minor things.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 10:08, 20 December 2020 (UTC)

==Yang Chenting 杨晨婷==

1. 南北朝时期（420一589）是道教进一步充实完善的时代，是道教走上成熟的时代，出现了众多的道教改革家、理论家，他们的活动对后世道教有着重要的影响。

1. The Southern and Northern Dynasties period (420-589) was a time when Taoism was further enriched, a time when Taoism came to maturity and numerous Taoist reformers and theorists emerged, having an important influence on the development of Taoism.

Taoism was further developed and came to maturity in the Southern and Northern Dynastie(420-589) when numerous Taoist reformers and theorists emerged and their activities had an important influence on the development of Taoism.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:47, 18 December 2020 (UTC)Xu Jia

2. 曲阜孔庙为纪念孔夫子而兴建，千百年来屡毁屡建，到今天已经发展成超过100座殿堂的建筑群。

2. The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and built again and again over the centuries. Today, it has grown into a building complex of over 100 palaces today.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:19, 17 December 2020 (UTC)Yang Chenting

The Confucius Temple in Qufu was built to commemorate Confucius, which has been destroyed and rebuilt again and again over the past centuries. Today, it has grown into a building complex of over 100 palaces.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:49, 17 December 2020 (UTC)Mo Ling

==Yang Hairong 杨海容==

1.儒家的“德治”主义就是主张以道德去感化教育人。儒家认为，无论人性善恶，都可以用道德去感化教育人。这种教化方式，是一种心理上的改造，使人心良善，知道耻辱而无奸邪之心。
The Confucian "rule of virtue" doctrine advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is good or bad, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people good-hearted, knowing the shame and not being evil.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

Confucian doctrine of "rule of virtue" advocates the use of morality to influence and educate people. Confucianism believes that no matter what human nature is, good or evil, morality can be used to influence and educate people. This way of enlightenment is a kind of psychological transformation, making people kind-hearted and knowing the shame but not being evil.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

2.“己所不欲，勿施于人”、“躬自厚而薄责于人” 等，都是孔子的做人准则。
"Do not do to others what you do not want to do to others", "self-respect and responsibilities to others" are all Confucius’s principles of life.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

"Do not do to others what you do not want to do to yourself" and "self-respect and responsibilities to others" are both Confucius's codes of conduct.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

3.认为天地万物都有"道"而派生，即所谓"一生二，二生三，三生万物"，社会人生都应法"道"而行，最后回归自然。
It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "One life two, two life three, three life all things", social life should follow the law "Tao" and finally return to nature.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 03:41, 18 December 2020 (UTC)

It is believed that all things in heaven and earth are derived from "Tao", which is the so-called "Two in one, three in two, three in all". Social life should all follow the law "Tao" and finally return to nature.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:17, 20 December 2020 (UTC)

==Yang Hui 阳慧==
1.孔子追求的“礼”，是西周时的等级名分制度。为了实现“礼”，孔子进一步提出了“正名”的主张。

Confucius's pursuit of " rites " is the Western Zhou Dynasty hierarchy system.In order to realize the " rites ", Confucius further put forward the " rectification of name ".

The "ritual" pursued by Confucius was the hierarchical system of the Western Zhou Dynasty. In order to realize "li", Confucius further proposed the idea of "rectification of name".--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 13:59, 19 December 2020 (UTC)

2.改革开放以来，在党和政府新时期宗教政策的指导下，中国道教呈现出前所未有的新气象,为促进经济发展、社会和谐、祖国统一和世界和平做出了积极贡献。

Since the reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:39, 18 December 2020 (UTC)

Since the introduction of reform and opening-up, under the guidance of the religious policies of the Party and the government in the new period, Chinese Taoism has taken on an unprecedented new look and made positive contributions to promoting economic development, social harmony, the reunification of the motherland and world peace.--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 07:11, 20 December 2020 (UTC)

==Yang Yue 杨悦==

1、孔子是中国思想史上第一个把道德作为做人和治国首要条件和最高标准提出来的哲人。道德的核心是仁。儒家提倡人与人之间的仁和礼。今天，在中国和其他许多国家，儒学的研究正在迅速增长。

Confucius was the first philosopher in China's ideological history to propose moral standards as the prior criterion for man's behaviour and governing a country.The core of morality is benevolence. Confucianism advocates benevolence and courtesy among people. Today, in China and many other countries, the study of Confucianism is rapidly growing.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Confucius was the first philosopher in the history of Chinese thought to put morality as the primary and highest standard for being a man and governing a country. The core of morality is benevolence. Confucianism advocates benevolence and etiquette among people. Today, in China and many other countries, the study of Confucianism is growing rapidly. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

2、道教是中国固有的一种宗教，距今已有1800余年的历史。它深深扎根于中华沃土之中，具有鲜明的中国特色,并对中华文化的各个层面产生了深远影响。

Taoism, an inherent religion of China, has a history of over 1800 years. It is deeply rooted in the Chinese fertile soil with distinct Chinese characteristics, and have a profound impact on all levels of Chinese culture.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:29, 17 December 2020 (UTC)

Taoism is a religion inherent in China, with a history of more than 1,800 years. It is deeply rooted in the fertile soil of China, with distinctive Chinese characteristics, and a profound impact on overall Chinese culture. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:04, 17 December 2020 (UTC)

==Yang Ziling 杨子泠==

孔子在卫国住了约10个月，因有人在卫灵公面前进谗言，卫灵公对孔子起了疑心，派人公开监视孔子的行动，因此孔子带弟子离开卫国，打算去陈国。

Confucius lived in Wei State for about 10 months. Due to someone advancing slander in front of Duke Ling of Wei, he became suspicious of Confucius and sent people to publicly monitor Confucius. Therefore, Confucius led his disciples to leave Wei and planned to go to Chen State. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Daoism inherited and developed Taoism thought in the pre-Qin period, taking "Dao" as the highest belief, evolving from it the highest classics, the highest Daoism and the supreme gods, and building a huge system of classic Daoism gods. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 02:00, 17 December 2020 (UTC)

1. Confucius stayed in Wei for about 10 months, but when someone slandered him in front of Duke Weiling, he became suspicious of Confucius and sent people to monitor his movements openly. Therefore, Confucius left Wei with his disciples to Chen.

2. Inheriting and developing the pre-Qin dynasty Taoist thought, it holds “Tao” as the highest belief, evolving the highest classics, the highest Taoist arts and the highest deities, forming a huge system of classical Taoist arts and deities.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:22, 17 December 2020 (UTC)Yang Chenting

==Yi Zichu 义子楚==

==You Yuting 游雨婷==

1.在长期的教学实践活动中，孔子积累和总结了很多教学经验。他主张因材施教，根据学生的不同特点分别指导。

In the long-term teaching practice, Confucius has accumulated and summarized a lot of teaching experience. He advocated teaching students in accordance with their aptitude and instructing them separately according to their different features.

In the long-term teaching practice activities, Confucius has accumulated and summed up a lot of teaching experience. He advocates teaching students in accordance with their aptitude and guiding students according to their different characteristics.--[[User:ANNA GROSHEVA|ANNA GROSHEVA]] ([[User talk:ANNA GROSHEVA|talk]]) 14:01, 19 December 2020 (UTC)

2.作为一种宗教实体，道教不仅有其独特的经典教义、神仙信仰和仪式活动，而且还有其宗教传承、教团组织、科戒制度、宗教活动场所。

As a religious entity, Taoism not only has its unique classical doctrine, immortal belief and ritual activities, but also has its religious inheritance, organization of religious groups, system of discipline and places for religious activities.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:27, 18 December 2020 (UTC)

==Yu Ni 余妮==
1.孔子的经济思想最主要的是重义轻利、“见利思义”的义利观与“富民”思想。这也是儒家经济思想的主要内容，对后世有较大的影响。

The most important economic thought of Confucius is the value of justice over profit, the view of righteousness and benefit, and the thought of enriching the people. This is also the main content of Confucian economic thought, which has great influence on later generations.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Confucius'economic thought mainly consists of the concept of justice and benefit, the concept of justice and benefit and the thought of enriching the people.--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:41, 18 December 2020 (UTC)

2.道教哲学和宗教已经渗透到所有受中国影响的亚洲文化中，尤其是越南、日本和韩国的文化。在受中国文化影响的地区，各种宗教习俗让人想起道教，这表明他们与中国游客和移民的早期接触还没有被阐明。

Daoist philosophy and religion have found their way into all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:42, 18 December 2020 (UTC)

Daoist philosophy and religion have infiltrated all Asian cultures influenced by China, especially those of Vietnam, Japan, and Korea. Various religious practices reminiscent of Daoism in such areas of Chinese cultural influence indicate early contacts with Chinese travelers and immigrants that have yet to be elucidated.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 18 December 2020 (UTC)

==Yuan Tianyi 袁天翼==

解放前的道教中充满着浓厚的封建气息，对广大道教徒进行爱国主义教育，改革宫观封建经济，废除道教中的封建残余，与反动会道门划清界限，成为道教在新中国面临的重大任务。

Taoism before liberation was represents strong feudal atmosphere. It became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

Taoism before liberation was in strong feudal atmosphere. Therefore, it became a major task for Taoism in New China to carry out patriotic education for the majority of Taoists, reform the feudal economy of the palace, abolish the remnants of feudalism in Taoism, and draw a clear line with the reactionary Taoist doors.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:29, 17 December 2020 (UTC)

孔子，姓孔，名丘，字仲尼，公元前551年，出生于春秋后期的鲁国。

Confucius is known as Kong Qiu, a combination of his surname and his given name, and he is also named as Zhongni, which is his courtesy name.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:11, 17 December 2020 (UTC)

==Zeng Liang 曾良==
1.儒教是孔子所创立、孟子所发展、荀子所集其大成，之后延绵不断，为历代儒客推崇，至今仍有一定生命力的学术流派。
Confucianism is an academic school which was founded by Confucius, developed by Mencius, and epitomized by Xuncius. It has continued to be admired by scholars of Confucianism and remined vitality until today.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

2.在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in our country, Taoism is the only one that originated in China and was founded by Chinese, so it is also called a local religion of China.--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:59, 20 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==

儒家在先秦时期和诸子百家地位平等。而后汉武帝为了维护封建专制统治，听从董仲舒"罢黜百家，独尊儒术"的建议，对思想实施钳制，使儒家重新兴起。
Confucianism had equal status with other schools of thought in the pre Qin period. In order to maintain the feudal autocratic rule, Emperor Wu of the Han Dynasty followed Dong Zhongshu's suggestion of "deposing hundreds of schools of thought and respecting Confucianism alone", so as to reinvigorate Confucianism.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。
Among the five major religions in China, Taoism is the only religion originated in China and founded by Chinese people, so it is also known as local religion.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:11, 20 December 2020 (UTC)

==Zhang Hui 张慧==

1.身处乱世的孔子所主张的仁政没有施展的空间，但在治理鲁国的三个月中，使强大的齐国也畏惧孔子的才能，足见孔子无愧于杰出政治家的称号。

The benevolent government advocated by Confucius in troubled times has no room for display, but during the three months of ruling Lu State, the powerful Qi State also feared Confucius’ talents, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

In the troubled times, Confucius' benevolent rule had no room to be exercised, but in the three months he ruled the state of Lu, he made even the powerful state of Qi fear Confucius' talent, which shows that Confucius deserves the title of outstanding statesman.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

2.道教继承和发展了先秦道家思想，将“道”作为最高信仰，从中演化出最高经典，最上道术及最高的神灵，构建了庞大的经典道术神仙体系。

Taoism inherited and developed Taoism thought in the pre-Qin period, taking "Tao" as the highest belief, and evolving from it the highest classics, the highest Taoism and the highest gods, and building a huge system of classic Taoism gods.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:06, 17 December 2020 (UTC)

Taoism inherited and developed Taoist thought from the pre-Qin dynasty, taking "Tao" as the highest belief, evolving from it the highest classics, the highest Taoist arts and the highest deities, and building a huge system of classical Taoist deities.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:13, 17 December 2020 (UTC)

==Zhang Ling 张玲==

1. 孔子63岁时，曾这样形容自己：“发愤忘食，乐以忘忧，不知老之将至。”当时孔子已带领弟子周游列国9个年头，历尽艰辛，不仅未得到诸侯的任用，还险些丧命，但孔子并不灰心，仍然乐观向上，坚持自己的理想，甚至是明知其不可为而为之。

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, but he almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

When Confucius was 63 years old, he used to describe himself as, "(One is) so engrossed in his studies that he forgets to have his meals on time; so cheerful that he forgets all his worries; so youthful that he forgets his actual age." At that time, Confucius had guided his disciples to travel around the various states and nations for nine years. He had not been appointed by the feudal lord, and even almost died. However, he was not disheartened. He was still optimistic and insisted on his ideal even he knew it was impossible.--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 06:52, 18 December 2020 (UTC)

2. 作为中华文化最重要的两翼，道家和儒家的关系比较复杂，它们之间有互相学习的一面，也有互相对立的一面。

As the two most important components of Chinese culture, Daoism and Confucianism have a complicated relationship, with both learning from each other and opposing each other. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 04:05, 17 December 2020 (UTC)

As the two most important wings of Chinese culture, Taoism and Confucianism have a complex relationship. Specifically, they are mutually reinforcing and antagonistic.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:34, 17 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
道教是中国的本土宗教，道教主张天人合一，东汉末年出现大量的道教组织。

Taoism is China's indigenous religion advocating the unity of heaven and man.The end of the Eastern Han Dynasty appeared a large number of Taoist organizations.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Taoism is an indigenous religion of China and it advocates the unity of heaven and man. A large number of Taoist organizations appeared in the late Eastern Han Dynasty. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

儒学思想，是先秦诸子百家学说之一。儒学文化是以儒家学说为指导思想的文化宗派，为春秋时期孔丘所创。

Confucianism is one of the schools of thought in the pre-Qin dynasty. Confucianism is a school of culture guided by Confucianism. It was created by Confucius in the Spring and Autumn Period.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:26, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is a cultural sect with Confucianism as its guiding ideology, created by Confucius during the Spring and Autumn Period. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:19, 18 December 2020 (UTC)

Confucianism is one of the schools of thought in the pre-Qin periods. Confucian culture is guided by Confucianism and created by Confucius during the Spring and Autumn Period.--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:50, 20 December 2020 (UTC)

==Zhang Weihong 张维虹==

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.儒家经书是四书五经，但儒家早期以五经为主，在佛教禅宗的挑战下，宋代程朱理学以四书取代五经的地位。

The Confucian scriptures are the Four Books and Five Classics. However, the early Confucianism was dominated by the Five Classics. Under the challenge of Zen Buddhism, the neo-Confucianism of Song Dynasty replaced the Five Classics with the Four Books.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

The Confucian scriptures are the Four Books and Five Classics, but the early Confucianism was dominated by the Five Classics. Under the challenge of Buddhist Zen Buddhism, the Song Dynasty's Cheng-Zhu Theory replaced the status of the Five Classics with the Four Books.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

The scriptures of confucianism are the Four Books and Five Classics, in which the majority is the latter one at the prelimetary stage, but then the Four Books got the upper hand under the theory of Chen-zhu in the Song Dynasty.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:41, 18 December 2020 (UTC)

2.春秋时期，老子总结了古老的道家思想的精华，形成了道家完整系统的理论，标志着道家思想已经正式成型。道家是对中华哲学、文学、科技、艺术、音乐、养生、宗教等影响最深远的学派。

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Daoism, marking the formal formation of Daoism. Daoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:22, 17 December 2020 (UTC)

During the Spring and Autumn Period, Laozi summarized the essence of ancient Taoist thought and formed a complete and systematic theory of Taoism, marking the formal formation of Taoist thought. Taoism is the school of thought that has had the most profound influence on Chinese philosophy, literature, science and technology, art, music, health care and religion.--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:13, 17 December 2020 (UTC)

==Zhang Yujie 张毓婕==
孔子是中国古代思想家、政治家、教育家，儒家学派创始人。

Confucius is an ancient Chinese thinker, statesman, educator, and founder of the Confucian school.

在我国五大宗教中，道教是唯一发源于中国、由中国人创立的宗教，所以又被称为本土宗教。

Among the five major religions in my country, Taoism is the only religion that originated in China and was founded by the Chinese, so it is also called a local religion。

==Zhang Yuxing 张宇星==

1. 孔子是中国著名的思想家、教育家、政治家，与弟子周游列国十四年，晚年修订六经，即《诗》《书》《礼》《乐》《易》《春秋》。

Confucius was a famous Chinese thinker, educator and statesman who traveled around ancient China with his disciples for 14 years and revised the Six Classics in his later years, namely, The Book of Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annuals.

2. 庄子的文章，想象奇幻，构思巧妙，多彩的思想世界和文学意境，文笔汪洋恣肆，具有浪漫主义的艺术风格，瑰丽诡谲，意出尘外，乃先秦诸子文章的典范之作。

Zhuangzi's writings are full of fantastical imagination, ingenious ideas, colorful world of thought and literary contexts, and unrestrained writing. They also fall to a romantic artistic style which is magnificent and deceitful, boasting for masterpieces among those in the pre-Qin plutocrats.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:19, 20 December 2020 (UTC)

==Zhao Xi 赵茜==

==Zhao Xiaoyan 赵晓燕==
1.孔子是当时社会上最博学者之一，在世时就被尊奉为“天纵之圣”“天之木铎”，更被后世统治者尊为孔圣人、至圣、至圣先师、大成至圣文宣王先师、万世师表。

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage of heaven" and "the mudor of heaven" during his lifetime.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Confucius was one of the most erudite scholars in society at that time. He was honored as the "Sage of Heaven" and "Wood Duo of Heaven" when he was alive. The most sacred Wenxuan Wang Xianshi, Wanshishishi.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

Confucius was one of the most knowledgeable people in the society at that time, and he was honored as "the sage from heaven" and is honored as "the mudor of heaven" nowadays.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 04:05, 17 December 2020 (UTC)

2.道教对我国古时代的政治、经济和文化都发生过深刻的影响，是统治阶级的三大精神支柱之一。

Taoism has had a profound impact on the politics, economy and culture of our ancient times and was one of the three spiritual pillars of the ruling class.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:09, 17 December 2020 (UTC)

Taoism had a profound impact on the politics, economy and culture of our country in ancient times, and it is one of the three spiritual pillars of the ruling class.--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 03:16, 17 December 2020 (UTC)

==Zhou Yiwen 周艺文==

==Zhou Yuanqu 周园曲==

==Zhu Meimei 祝美梅==

==Zhu Xu 朱旭==

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

1.Confucianism, the way of life propagated by Confucius (6th–5th century BCE) and followed by the Chinese people for more than two millennia.

儒教，是孔子（公元前6至5世纪）传播的生活方式，其后是中国人传播了两千多年。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

儒家思想由孔子（公元前6-5世纪）传播一种生活方式，中国人已遵循的两千多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

2.Taoism, indigenous religion-philosophical tradition that has shaped Chinese life for more than 2000 years.

道教是一种固有的宗教哲学传统，已经改变了中国2000多年的生活。--[[User:ZubarevaEkaterina|ZubarevaEkaterina]] ([[User talk:ZubarevaEkaterina|talk]]) 11:05, 20 December 2020 (UTC)

道教是中国的本土宗教，也是一种哲学传统，影响了中国2000多年。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:22, 20 December 2020 (UTC)

20201215 cultexam 2

2020-12-20T06:05:36Z

PINGKI TANCHANGYA 4: /* Chinese traditional dance */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013.(Zou Jingyi , Zhang Yimei 2018,131)

The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered（改） in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. 空格 (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:16, 18 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:
1.Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.(Kang Yuming, Li Jinfeng2020,281)

1.(点号后空格)Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. 这句话意思不太理解。During the Ming and Qing dynasties, the government controlled（改） tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. 空格 (Kang Yuming, Li Jinfeng2020,281) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

3.The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD .It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, .(Kang Yuming, Li Jinfeng2020,282)

3. (点号后空格)The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. (句点空格) It is in the south of Yunnan's main tea producing area. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers(逗号删掉).(Kang Yuming, Li Jinfeng2020,282) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route （改） pass through Chengdu, and their development is closely related to the tea-horse trade. (句点后空格) (Kang Yuming,Li Jinfeng2020,283) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

===Historical Values===
1.The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

1. 点号后空格 The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation and exclusive resources and is unparalleled in the world. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Ji Jing2016,354)

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. 句点后空格 (Ji Jing2016,354)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

3.Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

3. 点号后空格 Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Ji Jing2016,355)

4. The Path of National Spirituality
We can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and becomes a part of the Chinese national spirit. 句点后空格 (Ji Jing2016,355)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

5.The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

5. 点号后空格 The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

6.The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

6. 空格 The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributes to the stability and consolidation of China's southwest frontier. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

7.The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC)

7. 空格 The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. 空格 (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

1.What is 多了个空格 the ancient tea horse road ? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

2.How many main routes does the ancient tea-horse road conclude?

2.How many main routes 多了个空格 does the ancient tea-horse road include? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

3.What is the historical value?

3.What is the historical value of the ancient tea-horse road? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设 BeiJing Planning Review''(04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技Rural Economy and Science'' 31(11)281-283.

Li Gang, Li Wei李刚,李薇.(2011).论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History].''西北大学学报Journal of Northwestern University'' 41(04):113-117.

Ji Ji纪静.(2016.)茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ].''福建茶叶 Tea In Fujian'' 38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:23, 18 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽==
===Shadow Play Li Lili No.202070080594 MTI===
大标题+小标题+名字拼音+汉字+学号+专业，大标题应该涵盖小标题，比如文学，《红楼梦》...(可以直接在最上面一栏写哦，不必再写一栏）--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:00, 17 December 2020 (UTC)

====The Origin of Shadow Play====
Shadow play has a long history from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning for her was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid，so he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he could not put down for a long time. This love story is considered to be the earliest origin of shadow play.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development is closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

There are also some views that shadow play originated in Xi'an during the Tang Dynasty. However, it is worth discussing that although there were various operas in the Tang Dynasty, there is no record of any shadow plays in the Tang Dynasty. Up to now, the earliest record of shadow play that we can see is in Song Dynasty. Its rise and development were closely related to the superior geographical environment, the development of commodity trade and good commercial transportation at that time in Bianjing (the capital of the Northern Song Dynasty).--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)

====Introduction====
可以复制别人图片的格式，修改名字和来源即可--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)
[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

In ancient Chinese society, the Chinese people began to perform with puppets against a luminous screen. This was "shadow puppets", also known as "light and shadow play". It is considered the “predecessor of movie” because it was the earliest physical moving part in the world to be dubbed with human voices. In the play, puppeteers hide behind a white screen and move puppets while narrating the story, usually through singing. The performances are accompanied by musicians playing percussion and stringed instruments. Shadow puppets can perform actions such as “serving wine”, “waving a sword and dancing a spear,” and even “smoking” by the puppeteer holding and moving joysticks on its body.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

Typically, a shadow play has three poles, and some may have five or seven. It can create a rich variety of designs, for example shadow puppets, animals and stage props such as buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It incorporates traditional Chinese modeling and performing arts as well as the arts of painting, paper-cutting, local opera, and ventriloquism. Besides, it has absorbed the essence of local operas and folk songs and formed many genres. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play, etc.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

So how do you make a puppet? Firstly, draw a picture of each part of the shadow puppet; secondly, finish the carving with a knife and put the hard board underneath the designed pattern; thirdly, color the puppet with watercolor pens; fourthly, paint the body parts with a brush dipped in oil paint. It can make the puppet transparent and better reflect colors under the light; fifthly, connect the joint sections with the cotton thread; sixthly, make the joysticks; finally, attach the joysticks to the shadow puppet with cotton thread. Due to the different movements of the joysticks, the shadow puppet has a life and can express joy, anger, sorrow and happiness.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people are short beard, but the elderly men are long beard. (Wang Yexia 2012,10-11)

The eyes and the eyebrows of the shadow puppet’s five facial features represent different personalities. A good and upright person is typically benevolent and kind with nice-looking eyebrows and eyes, while a villain or general is ferocious and evil-looking with sharp eyebrows and almond-shaped eyes. And the former tends to hide their teeth and the latter show their teeth. The middle-aged people have short beards, while the elderly men have long beards.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and are often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

The decorative patterns on the shadow puppets are so important that they must match the social status of characters. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenixes, while male characters are often decorated with patterns such as dragons, tigers, water and clouds. The shadows puppets look colorful under the light. To achieve a better visual effect, translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. Red is a symbol of heroic and upright character and the representative is Guan Yu. Black indicates a fair, honest and selfless character and the representative is Zhang Fei. Yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic powers.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of scripts, the painting and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, with the exception of a few places, lasted until 1976.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:40, 18 December 2020 (UTC)

After the end of the "Cultural Revolution", shadow puppet art revived rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", the art of shadow puppet was rapidly revived. However, as economic development was placed at the forefront of social activities with the popularity of television and the enrichment of art forms, shadow play is declining with an irresistible trend, because the art of shadow play are unable to keep pace with the times and be appreciated by the audience. As a result, the future of shadow play is becoming increasingly bleak.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the "list of representative works of human intangible cultural heritage".（baidubaike）引用不规范--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:53, 18 December 2020 (UTC)

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]
*https://baike.baidu.com/item/%E7%9A%AE%E5%BD%B1%E6%88%8F/23224?fr=aladdin

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3. What does a red head stand for in a play?
*4.When is it put on the list of intangible cultural heritage".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is symbol of a heroic and upstanding character.
*4. On November 27, 2011.

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

=== Confucian Culture ===

==== Introduction ====

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

After more than 2,000 years of development and evolution, Confucian culture has built up a complete ideological system, covering politics, education, morality and ethics, codes of conduct, life skills and many other aspects.It has long nurtured the wisdom and mind of the Chinese people and formed a fixed modes of thinking, psychology and survival, which are deeply rooted in the nation.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:49, 18 December 2020 (UTC)

==== Analysis of Confucian Culture ====

===== Intelligence Development =====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as the dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education, and '''being educated and sensible''' became a basic requirement. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:59, 18 December 2020 (UTC)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

=====Spiritual Guidance =====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

=====Order Construction =====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is the fundamental reason why Confucianism was so popular with the feudal rulers,
Instead of promoting social equality, it worked to maintain an unequal and slavish feudal hierarchy. Indeed, after a long period of feudal rule, the sense of hierarchy would enslave the national psyche. With the progress of times and civilization, Confucianism's view of the Mandate of Heaven and the ruling ideology of social order have becme a psychological yoke that enslaved the people.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:33, 18 December 2020 (UTC)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

====The Contemporary Value of Confucian Culture ====

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

=====Ideological and Political Education =====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

===== Modern Economic Construction=====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

The concept '''has not only served''' as theoretical basis for reformers in the past, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, '''by promoting the "innovative" spirit of Confucianism''', we can greatly enhance the reform consciousness of the Chinese people; externally, by using the influence of Confucianism in the world, we can help promote opening up to the outside world.(Li Chengzong 2002, 67)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:42, 18 December 2020 (UTC)

===== Legal Construction =====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral '''qualities in order to play an exemplary and leading role'''. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) --[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:40, 18 December 2020 (UTC)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

====The Confucius Institute ====

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

As China's international status continues to rise and international contacts become more widespread, Chinese culture is gaining more and more attention overseas. The demand for Chinese language learning and understanding of Chinese culture has grown dramatically around the world. The Confucius Institute project, founded in 2004, emerges in this context. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:43, 18 December 2020 (UTC)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

====Terms and Expressions ====

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

====Questions ====

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

====Answers====

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

====References====

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. '''[The pages are not given]'''

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. '''[The pages are not given]'''

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.'''[The pages are not given]'''

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. '''[The pages are not given]'''

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. '''[The pages are not given]'''

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. '''[The pages are not given]'''

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. '''[The pages are not given]'''

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C． '''[The pages are not given]'''

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. '''[The pages are not given]'''--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:34, 18 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 【专业 is missing】==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. 【quotation is missing】
===Six Procedures===

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refersthat if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers【refers to a practice that..】 that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix【？】 and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask【asks】 the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the【可删】 one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential【prospective】 bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to 【inform sb of sth 】the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

===Customs===

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, 【 connective is missing】many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride 【before or during？】. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls【addresses】 the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

===Development===

As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi & Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.

As time goes by, there are many reforms about marriage right now【nowadays】. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi & Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now【the present day】. There still exist betrothal gifts and dowry【dowries】, and many couples choose to wear red costumes. The groom should 【？】go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep【deeply】 rooted in the hearts of Chinese people and shows【show】--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.

===References===

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

===Terms and Expressions===

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

===Questions===

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

===Answers===

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==

===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people.

2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have(has) been engraved in every Chinese people. --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence.(there are various opinions,however,many of them are presented without sufficient evidences) There are many myths explaining these animal signs and their arrangement. Among them the most enduring(time-honored) one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who (that)made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research(researches) on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

====Folk Culture and Belief ====

The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition.

The zodiac sign not only can (can not only)reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. (quotation is missing) --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic(zodiac) sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures(creature) , the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is(are) born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight(fight against) each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have(has) developed a profound connotation and implications through generation(generations). Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 06:20, 17 December 2020 (UTC)Mo Ling

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

[[File:Example3.left.jpg|300px|thumb|left]]

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===

1. INTRODUCTION

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements

There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.

20201215 cultexam 2

2020-12-20T06:04:23Z

PINGKI TANCHANGYA 4: /* Chinese traditional dance */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Chinese Red Culture - Kang Haoyu 康浩宇, 202070080638 English Interpreting==

<center>康浩宇 Kang Haoyu</center>

===Chinese Red Culture===
Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible and intangible culture. Red culture in China refers to the advance(advanced)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:15, 18 December 2020 (UTC) culture with Chinese characteristics created by party and people in revolutionary years.(Zhu Guilian, Li Jin 2010, 87)

====1. Development====

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic(historical)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.(Xi Jinpin 2017)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.(Luo Liling, Pu Qingpin 2018, 45)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.(Zhu Guilian, Li Jin 2010, 87)

====2. Symbols====

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.(Chen dongwang, Huang Weiliang 2006, 19)

====3. Values====

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.(Wang Yidi 2007, 149)

====4. Red Culture in Nanchang====

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, (the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC)communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang.

Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate(the)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:18, 18 December 2020 (UTC) Nanchang Uprising.（Peng Bo, Zhang Li, Li Jiangyuan 2006, 58）

===References===

[1] 程东旺, 黄伟良. “红色文化”的价值形态与德育功能探析[J]. 现代教育科学, 2006: 19-21.

[2] 罗丽琳,蒲清平. 红色文化的思想政治教育基因及其时代价值[J].新疆师范大学学报, 2018: 45-52

[3] 彭波, 张丽, 李江源. 整合红色资源,提升江西文化力[J]. 江西崛起策论, 2006:58-60.

[4] 王以第. “红色文化”的价值内涵[J]. 文化论苑, 2007:149-150.

[5] 习近平, 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告,人民日报,2017.

[6] 朱桂莲,李晶. 德育视角下的中国红色文化研究综述[J]. 研究综述, 2010:87-89.

===Terms and Expressions===

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

===Questions===

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

===Answers===

1. In modern China, Communist Party of China led the Chinese revolution and led people to fight against suppression.

2. Revolutionary culture and advanced socialist culture are two major components of red culture

3. Four. Authority, courage, honor and revolution.

4. Three. History value, civilization value and economic value.

5. Bayi Nanchang Uprising Memorial Tower

==The Ancient Tea Horse Road - Lei Fangyuan 雷方圆, 202070080593 MTI==

===The Ancient Tea Horse Road===

====Introduction====
The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013.(Zou Jingyi , Zhang Yimei 2018,131)

The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. It originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties and in the Ming and Qing dynasties, and prospered（改） in the middle and late World War II. The Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units on March 5, 2013. 空格 (Zou Jingyi , Zhang Yimei 2018,131) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:16, 18 December 2020 (UTC)

====Historical Routes====
China’s ancient tea horse road is divided into:
1.Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.(Kang Yuming, Li Jinfeng2020,281)

1.(点号后空格)Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.
2. Shanxi - Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. 这句话意思不太理解。During the Ming and Qing dynasties, the government controlled（改） tea trafficking, and the tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road. 空格 (Kang Yuming, Li Jinfeng2020,281) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

3.The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD .It is in the south of Yunnan's main tea producing areas. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, .(Kang Yuming, Li Jinfeng2020,282)

3. (点号后空格)The ancient Yunnan-Tibet Tea Horse Road was formed in the late sixth century AD. (句点空格) It is in the south of Yunnan's main tea producing area. It is an important trade channel between ancient China and South Asia.
4. Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road. It is an essential bridge and link between ancient Tibet and the interior. It is in the east of Yazhou edge, west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers(逗号删掉).(Kang Yuming, Li Jinfeng2020,282) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade. (Kang Yuming,Li Jinfeng2020,283)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line. Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, and among them, the Yunnan-Tibet route and the Sichuan-Tibet route （改） pass through Chengdu, and their development is closely related to the tea-horse trade. (句点后空格) (Kang Yuming,Li Jinfeng2020,283) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:28, 18 December 2020 (UTC)

===Historical Values===
1.The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.

1. 点号后空格 The Golden Road of Tourism
The ancient tea-horse road tour has unique scenery, profound cultural connotation and exclusive resources and is unparalleled in the world. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Ji Jing2016,354)

2. Ancient Roads for the Propagation of Civilization
The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet. 句点后空格 (Ji Jing2016,354)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

3.Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.

3. 点号后空格 Migration Corridor of National Cultures
On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

4. The Path of National Spirituality
You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Ji Jing2016,355)

4. The Path of National Spirituality
We can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and becomes a part of the Chinese national spirit. 句点后空格 (Ji Jing2016,355)--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

5.The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.

5. 点号后空格 The Road of National Unity and Integration
The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

6.The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.

6. 空格 The Road of Securing the Borders
The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributes to the stability and consolidation of China's southwest frontier. --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

7.The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC)

7. 空格 The road to economic development
The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region. 空格 (Ji Jing2016,355)--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:25, 18 December 2020 (UTC) --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:34, 18 December 2020 (UTC)

===Terms and Expressions===

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

===Questions===

1.What is the ancient tea horse road ?

1.What is 多了个空格 the ancient tea horse road ? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

2.How many main routes does the ancient tea-horse road conclude?

2.How many main routes 多了个空格 does the ancient tea-horse road include? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

3.What is the historical value?

3.What is the historical value of the ancient tea-horse road? --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:37, 18 December 2020 (UTC)

===Answers===

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

===References===

Zou Jingyi, Zhang Yiqing邹怡情,张依玫. (2018). 作为文化线路的茶马古道遗产保护研究[ A Study on Heritage Conservation of Ancient Tea Horse Road as a Cultural Route].
''北京规划建设 BeiJing Planning Review''(04)131-140.

Kang Yuming, Li Jinfeng康昱明,李金峰.(2020).甘肃茶马古道文化线路遗产探究[ A Study on Cultural Route Heritage of Ancient Tea Horse Road in Gansu Province].''农村经济与科技Rural Economy and Science'' 31(11)281-283.

Li Gang, Li Wei李刚,李薇.(2011).论历史上三条茶马古道的联系及历史地位[ On the Connection and Historical Status of Three Ancient Tea Horse Roads in History].''西北大学学报Journal of Northwestern University'' 41(04):113-117.

Ji Ji纪静.(2016.)茶马古道的兴起及其价值研究 [ A Study on the Rise and Value of Ancient Tea Horse Road ].''福建茶叶 Tea In Fujian'' 38(07):354-355.--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 06:23, 18 December 2020 (UTC)

==Literature, Novels - Lei Kuangxi 雷旷溪学号missing 英语口译==

===Four satirical novels in ancient China===
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''

====Introduction====
At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times.
The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.[Please add your quotation]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:02, 18 December 2020 (UTC)Wu Zijia

==== Nie Hai Hua====
Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua.
The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line.
As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:05, 18 December 2020 (UTC)Wu Zijia

==== the Travels of an Old Man====
The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature.
The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country.
The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:08, 18 December 2020 (UTC)Wu Zijia

==== The Records of Officialdom Exposure====
The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction.
The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time.
The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.[Too long]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:09, 18 December 2020 (UTC)Wu Zijia

==== 20 years witness strange present situation====
The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century.
The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system.
The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.[Quotation missing]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 15:11, 18 December 2020 (UTC)Wu Zijia

==== Conclution====
As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

===Reference===
*[1]https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin
*[2]二十年目睹之怪现状[M]. 北方文艺出版社 , (清) 吴趼人, 2012
*[3]老残游记[M]. 北方文艺出版社 , (清) 刘鹗, 2012
*[4]官场现形记[M]. 北方文艺出版社 , (清) 李宝嘉, 2012
*[5]孽海花[M]. 北方文艺出版社 , (清) 曾朴, 2012
*[6]四大谴责小说政治批判手法研究[J].李辉东,2017

===Terms and Expressions===
The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

===Questions===
1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

===Answers===
1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

==Shadow Play - Li Lili 李丽丽==
===Shadow Play Li Lili No.202070080594 MTI===
大标题+小标题+名字拼音+汉字+学号+专业，大标题应该涵盖小标题，比如文学，《红楼梦》...(可以直接在最上面一栏写哦，不必再写一栏）--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:00, 17 December 2020 (UTC)

====The Origin of Shadow Play====
Shadow play has a long history from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning for her was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid，so he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story is considered to be the earliest origin of shadow play. (Wei Liqun 2018,13)

Shadow play has a long history according to the written records. Legend has it that Empress Xiaowu, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu missed her so strongly that he was in a trance and ignored the government's affairs all day. One day, Minister Li Shaoweng went out and came across a child playing with a doll in his hand. The shadow of the doll was so vivid that he came up with an idea to cut the Mrs. Li's image out of cotton and silk, painted it, and installed wooden poles on its hands and feet. When Emperor Wu looked at it, it was like a treasure that he could not put down for a long time. This love story is considered to be the earliest origin of shadow play.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)

There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development is closely related to Bianjing’s (the capital of Northern Song Dynasty) superior geographical environment, the development of commodity trade and good commercial transportation at that time. (Wei Liqun 2018,14-15)

There are also some views that shadow play originated in Xi'an during the Tang Dynasty. However, it is worth discussing that although there were various operas in the Tang Dynasty, there is no record of any shadow plays in the Tang Dynasty. Up to now, the earliest record of shadow play that we can see is in Song Dynasty. Its rise and development were closely related to the superior geographical environment, the development of commodity trade and good commercial transportation at that time in Bianjing (the capital of the Northern Song Dynasty).--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:29, 18 December 2020 (UTC)

====Introduction====
可以复制别人图片的格式，修改名字和来源即可--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)
[[File:shadow play.jpg|300px|thumb|right|]]

In Chinese ancient society, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks”, “waving a sword and a spear,” or even “smoking” by puppeteer holding and moving manipulating rods on its body. (Wang Yexia 2012,1-2)

In ancient Chinese society, the Chinese people began to perform with puppets against a luminous screen. This was "shadow puppets", also known as "light and shadow play". It is considered the “predecessor of movie” because it was the earliest physical moving part in the world to be dubbed with human voices. In the play, puppeteers hide behind a white screen and move puppets while narrating the story, usually through singing. The performances are accompanied by musicians playing percussion and stringed instruments. Shadow puppets can perform actions such as “serving wine”, “waving a sword and dancing a spear,” and even “smoking” by the puppeteer holding and moving joysticks on its body.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. (Wang Yexia 2012,2-3)

Typically, a shadow play has three poles, and some may have five or seven. It can create a rich variety of designs, for example shadow puppets, animals and stage props such as buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It incorporates traditional Chinese modeling and performing arts as well as the arts of painting, paper-cutting, local opera, and ventriloquism. Besides, it has absorbed the essence of local operas and folk songs and formed many genres. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play, etc.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. Thanks to different manipulating rods moves, the shadow puppet has a life, and can show happiness, anger, sorrow and gladness. (Wang Yexia 2012,29-35)

So how do you make a puppet? Firstly, draw a picture of each part of the shadow puppet; secondly, finish the carving with a knife and put the hard board underneath the designed pattern; thirdly, color the puppet with watercolor pens; fourthly, paint the body parts with a brush dipped in oil paint. It can make the puppet transparent and better reflect colors under the light; fifthly, connect the joint sections with the cotton thread; sixthly, make the joysticks; finally, attach the joysticks to the shadow puppet with cotton thread. Due to the different movements of the joysticks, the shadow puppet has a life and can express joy, anger, sorrow and happiness.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged people are short beard, but the elderly men are long beard. (Wang Yexia 2012,10-11)

The eyes and the eyebrows of the shadow puppet’s five facial features represent different personalities. A good and upright person is typically benevolent and kind with nice-looking eyebrows and eyes, while a villain or general is ferocious and evil-looking with sharp eyebrows and almond-shaped eyes. And the former tends to hide their teeth and the latter show their teeth. The middle-aged people have short beards, while the elderly men have long beards.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

The decorative designs on the shadow puppets are so important that they must match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character and the representative is Guan Yu. The black is a sign of a just, honest and selfless personality and the representative is Zhang Fei. The yellow shows a brave and irascible character and are often used in fantasy plays to represent people with magic power. (Wang Yexia 2012,13-16)

The decorative patterns on the shadow puppets are so important that they must match the social status of characters. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenixes, while male characters are often decorated with patterns such as dragons, tigers, water and clouds. The shadows puppets look colorful under the light. To achieve a better visual effect, translucent puppets need to be painted on both sides. The different colors of heads can also represent different characters’ personalities. Red is a symbol of heroic and upright character and the representative is Guan Yu. Black indicates a fair, honest and selfless character and the representative is Zhang Fei. Yellow shows a brave and irascible character and is often used in fantasy plays to represent people with magic powers.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:32, 18 December 2020 (UTC)

====The Present Situation of Contemporary Shadow Play====
Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. (Zhu Hengfu 2020,36）

Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of scripts, the painting and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to other fields. A large number of precious shadow puppet props and documents were damaged. This situation, with the exception of a few places, lasted until 1976.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:40, 18 December 2020 (UTC)

After the end of the "Cultural Revolution", shadow puppet art revived rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation from the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. （Zhu Hengfu 2020,36）

After the end of the "Cultural Revolution", the art of shadow puppet was rapidly revived. However, as economic development was placed at the forefront of social activities with the popularity of television and the enrichment of art forms, shadow play is declining with an irresistible trend, because the art of shadow play are unable to keep pace with the times and be appreciated by the audience. As a result, the future of shadow play is becoming increasingly bleak.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the "list of representative works of human intangible cultural heritage".（baidubaike）引用不规范--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:53, 18 December 2020 (UTC)

In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On November 27, 2011, UNESCO included Chinese shadow play in the "Representative List of Intangible Cultural Heritage of Humanity".--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 02:52, 18 December 2020 (UTC)

===References===
*Wang Yexia 王业霞.(2012). 《皮影戏》 [Shadow Play] 北京：高等教育出版社 Beijing: [Higher Education Publishing House]
*Wei Liqun 魏力群.(2018). 《小书大传承-皮影》["Small Book, Big Heritage - Shadow Play"] 重庆：重庆出版社 Chongqing: [Chongqing Publishing House]
*Zhu Hengfu 朱恒夫.(2020) 中国皮影戏的历史，现状与剧目特征[The History, Current Situation and Repertoire Characteristics of Chinese Shadow Theatre] 浙江艺术职业学院学报 [Journal of Zhejiang Arts Vocational College]
*https://baike.baidu.com/item/%E7%9A%AE%E5%BD%B1%E6%88%8F/23224?fr=aladdin

===Words and Expressions===
*shadow puppet皮影戏
*paper cutting 剪纸
*ventriloquism 口技
*manipulating rod 操纵杆
*five facial features 五官
*sharp eyebrows and almond-shaped eyes 尖眉杏眼
*Cultural Revolution 文化大革命
*intangible cultural heritage 非物质文化遗产

===Questions===
*1.When is the earliest shadow puppet’s record?
*2.What art of forms do shadow play use?
*3. What does a red head stand for in a play?
*4.When is it put on the list of intangible cultural heritage".

===Answers===
*1.Song dynasty.
*2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.
*3.The red is symbol of a heroic and upstanding character.
*4. On November 27, 2011.

==Confucian Culture - Li Liqin 李丽琴 Student No.202070080595 MTI ==

=== Confucian Culture ===

==== Introduction ====

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. (Li Xiaoyu 2010, 31)

Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. (Zhang Qizhi 1990, 20) The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion belief. (Chen Zhibin, Du Aihong 2017, 60-61)

Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Taoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. (Tan Su 2012, 68)

After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival. (Xiang Chunling 2008, 42-43)

After more than 2,000 years of development and evolution, Confucian culture has built up a complete ideological system, covering politics, education, morality and ethics, codes of conduct, life skills and many other aspects.It has long nurtured the wisdom and mind of the Chinese people and formed a fixed modes of thinking, psychology and survival, which are deeply rooted in the nation.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:49, 18 December 2020 (UTC)

==== Analysis of Confucian Culture ====

===== Intelligence Development =====

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as the dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education, and '''being educated and sensible''' became a basic requirement. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. (Zhang Qizhi 1990, 19)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:59, 18 December 2020 (UTC)

For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. (Zhang Qizhi 1990, 21) Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

=====Spiritual Guidance =====

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." (Zhang Qizhi 1990, 86) Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future. (Li Xiaoyu 2010, 32)

=====Order Construction =====

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. (Li Fangping 2013, 56)

In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is the fundamental reason why Confucianism was so popular with the feudal rulers,
Instead of promoting social equality, it worked to maintain an unequal and slavish feudal hierarchy. Indeed, after a long period of feudal rule, the sense of hierarchy would enslave the national psyche. With the progress of times and civilization, Confucianism's view of the Mandate of Heaven and the ruling ideology of social order have becme a psychological yoke that enslaved the people.--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:33, 18 December 2020 (UTC)

After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. (Li Xiaoyu 2010, 33)

Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical. (Xiang Chunling 2008, 39-41)

====The Contemporary Value of Confucian Culture ====

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society. (Xiang Chunling 2008, 39)

=====Ideological and Political Education =====

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. (Zhang Qizhi 1990, 51-57) Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others. (Xiang Chunling 2008, 39-40)

===== Modern Economic Construction=====

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. (Li Chengzong 2002, 65)

First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. (Li Chengzong 2002, 65)

Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. (Tan Su 2012, 68)

Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. (Li Chengzong 2002, 66)

Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. (Li Chengzong 2002, 67)

Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” (Li Chengzong 2002, 67)

The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture. (Li Chengzong 2002, 67)

The concept '''has not only served''' as theoretical basis for reformers in the past, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, '''by promoting the "innovative" spirit of Confucianism''', we can greatly enhance the reform consciousness of the Chinese people; externally, by using the influence of Confucianism in the world, we can help promote opening up to the outside world.(Li Chengzong 2002, 67)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 06:42, 18 December 2020 (UTC)

===== Legal Construction =====

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. (Li Xiaoyu 2010, 32-33)

Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. (Li Xiaoyu 2010, 32-33)

The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. (Wei Na 2014, 1-2)

In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. (Wang Jie 2004, 77)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83)

How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral '''qualities in order to play an exemplary and leading role'''. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. (Wang Jie 2004, 82-83) --[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:40, 18 December 2020 (UTC)

In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. (Wang Jie 2004, 83)

In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China. (Wang Jie 2004, 83)

====The Confucius Institute ====

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)

As China's international status continues to rise and international contacts become more widespread, Chinese culture is gaining more and more attention overseas. The demand for Chinese language learning and understanding of Chinese culture has grown dramatically around the world. The Confucius Institute project, founded in 2004, emerges in this context. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. (Wang Ying, Ti Wenjing 2009, 30)--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:43, 18 December 2020 (UTC)

Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. (Wang Ying, Ti Wenjing 2009, 30)

The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. (Wu Ying, Ti Wenjing 2009, 31)

At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. (Wu Ying, Ti Wenjing 2009, 31)

Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. (Wu Ying, Ti Wenjing 2009, 32)

The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture. (Xiang Chunling 2008, 42)

====Terms and Expressions ====

儒家 Confucian school

儒学 Confucianism

儒教 Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇 forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信 benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

====Questions ====

1. What’s the central ideas of Confucian culture?

2. What’s the difference among Confucian school, Confucianism and Confucian religion?

3. What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

4. What’s the Six Classical Arts?

5. What you think of the ancient influence of Confucianism?

6. Do you think Confucian culture still has its contemporary values in China? And why?

7. What do you think of the current situation of the development of the Confucian institute?

====Answers====

1. The central ideas of Confucian culture are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith.

2. Confucian school is a school of theory, Confucianism is a social stratification, and Confucian is a religion belief.

3. Confucian school emphasizes the code of conduct and the social order construction; Taoist school focuses on fostering the view of nature and the orientation of spiritual development; Legalist school serves the system construction of national political management; Mohist school emphasizes Universal Love and utilitarianism. Although Confucian school, Taoist school, Mohist school and Legalist school are different schools with different theories, they are not completely antagonistic.

4. The Six Classical Arts refers to propriety(礼), music（乐）, archery（射）, riding（御）, writing（书） and arithematic（数）.

5. The ancient influence of Confucianism should be analysed from a historical perspective. It was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. While contributing to intelligence development, spiritual guidance and order construction to some extent, it has also led to some negative effects in the long run. For example, it called for rigid feudal hierarchy and resulted in spiritual constraints.

6. Yes. Although Confucian culture has a history of thousands of years, it still has contemporary values in today's society. For instance, Confucian culture calls for “the people-oriented” philosophy and places a high priority on human value and dignity, which is still of profound significance; Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy.

7. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Nowadays, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. Joint efforts of all social sectors should be made to achieve the sustainable development of it.

====References====

Chen Zhibin, Du Aihong 陈智斌, 杜艾红. (2017). 儒学、儒家、儒教之异同 [The Differences and Similarities of Confucian School, Confucianism and Confucian Religion]. ''审计月刊'' Audit Monthly. '''[The pages are not given]'''

Li Chenzong 李承宗. (2002). 论儒家文化对培养现代爱国主义情感的积极作用 [On the Positive Effects of Confucian Culture on Cultivating Patriotism]. ''廊坊师范学院学报'' Journal of Langfang Teachers College. '''[The pages are not given]'''

Li Fangping 李芳萍. (2013). 儒家思想对中国文化的影响研究 [A Study on the Influence of Confucianism on Chinese Culture]. ''前沿'' Forward Position.'''[The pages are not given]'''

Li Xiaoyu 李晓愚. (2010). 儒家仁爱思想的当代诠释 [Contemporary Interpretation of Benevolence]. ''郑州大学学报(哲学社会科学版)'' Journal of Zhengzhou University. '''[The pages are not given]'''

Tan Su 谭苏. (2012). 论春秋战国时期的百家争鸣 [On the Competition of Ideas in the Spring and Autumn Period and the Warring States Period]. ''兰台世界'' Lantai World. '''[The pages are not given]'''

Wang Jie 王杰. (2004). 为政以德: 孔子的德治主义治国模式 [Rule of Virtue: Confucian’s Model of Governance]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C. '''[The pages are not given]'''

Wu Ying, Ti Wenjing 吴瑛, 提文静. (2009). 孔子学院的发展现状与问题分析 [The Development Status and Problems of Confucius Institute]. ''云南师范大学学报 (对外汉语教学与研究版)'' Journal of Yunnan Normal University. '''[The pages are not given]'''

Xiang Chunling 向春玲. (2008). 儒家文化的现代意义 [On Modern Significance of Confucian Culture]. ''中共中央党校学报'' Journal of the Party School of the Central Committee of the C．P．C． '''[The pages are not given]'''

Zhang Qizhi 张岂之. (1990). ''中国儒学思想史'' [The History of Chinese Confucianism]. 陕西：陕西人民出版社 Shaanxi: Shaanxi People’s Publishing House. '''[The pages are not given]'''--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 04:34, 18 December 2020 (UTC)

==Ch'ien Chung-shu - Liu Liu刘柳， 202070080596 MTI==

====Ch'ien Chung-shu====

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English.(360 Encyclopedia)

Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise ''China in the English Literature of the Seventeenth and Eighteenth Centuries'', and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work ''Fortress Besieged'', which was published in 1947.(360 Encyclopedia)

As a realistic satirical novel, ''Fortress Besieged'' is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life.(Qian Zhongshu 1947)

In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati.(Qian Zhongshu 1947)

Yang Jiang said, "The main connotation of ''Fortress Besieged'' is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series ''Fortress Besieged'' was broadcast on China Central Television(CCTV) and enjoyed great popularity.quotation is missing--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays ''Written in the Margins of Life'' (1941), the collection of short stories ''Humans·Beasts·Ghosts'' (1946), and the novel ''Fortress Besieged'' (1947).

Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as ''Limited Views:Essays on Ideaas and Letters'' and ''Patchwork:Essays on Art and Literature'', have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world.

To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in ''Fortress Besieged'', while we read ''Limited Views:Essays on Ideas and Letters'' and ''Patchwork:Essays on Art and Literature'', we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar.(Wang Shuizhao 2020)

Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book ''Academic Life of Qian Zhongshu'', in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.(Wang Shuizhao 2020)

====Terms and Expressions====

''China in the English Literature of the Seventeenth and Eighteenth centuries'' 《十七十八世纪英国文学中的中国》

''Fortress Besieged'' 《围城》

Kuomintang-controlled areas 国统区

''Written in the Margins of Life'' 《写在人生边上》

''Humans·Beasts·Ghosts'' 《人·兽·鬼》

''Limited Views:Essays on Ideas and Letters'' 《管锥编》

''Patchwork:Essays on Art and Literature'' 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

''Academic Life of Qian Zhongshu '' 《钱锺书的学术人生》

====Questions====

1.What is Ch'ien Chung-shu's representative work? When was it published?

2.When was the TV series ''Fortress Besieged'' broadcast?

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

5.Which sentence is your favoriate in ''Fortress Besieged''?

===Answers===

1.Ch'ien Chung-shu's representive work is ''Fortress Besieged''. It was published in 1947.

2.It was broadcast in December 1990.

3.''Patchwork:Seven Essays on Art and Literature''（《七缀集》） and ''Poetic Remains of an Ephemeral Life''（《槐聚诗存》）.

4.Wang Shuizhao published his new book ''Academic Life of Qian Zhongshu'' in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5."I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate."

===References===

Qian Zhongshu.钱钟书.(1947).''围城''.[Fortress Besieged].上海晨光出版公司[Shanghai Chenguang Publishing Corporation].

Wang Shuizhao.王水照.(2020).''钱锺书的学术人生''.[Academic Life of Qian Zhongshu].中华书局[Zhonghua Book Company,Ltd.].

--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:20, 14 December 2020 (UTC)

== ''' Crosstalk''' Liu Ou 刘欧， 202070080597，MTI==
大标题+小标题+名字拼音+汉字+学号+专业--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)
<center>刘欧 Liu Ou </center>

===The Development of Crosstalk===

Crosstalk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And become a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences.In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Beijing dialect, however, there are also “dialect crosstalk” in other regions of China. (360 Encyclopedia)夹注应在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people. The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata. (Hou Baolin, 1982:01)

Crosstalk is a original folk art in China, with a long historical tradition, deeply loved by the majority of the people 这句话语法错误--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC) . The once-dead crosstalk art has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer confined to several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, from the city to the countryside, and from the citizens to all strata 这句话关联词不完整， spread主谓注意一致，注意逗号的使用以及夹注在句号前。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:01)

===Four Basic Skills in Crosstalk===

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation. By learning all kinds of sounds to gain the ability to imitate. To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs. (Hou Baolin, 1982:11)

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (1982:194)作者？--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their “four compulsory lessons”. For example, by saying “tongue twisters” or “reciting classical repertoires” to grasp the rhythm in language and correct the pronunciation 不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). By learning all kinds of sounds to gain the ability to imitate不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). To practice singing skills by singing “Taiping lyrics” , opera lyrics and songs不是一个完整的句子。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). (Hou Baolin, 1982:11)

===Characteristics of Crosstalk===

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, it is different from drama that “performing with body movements” 出现了两个句子，无连接词。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). This kind of performance has a close relationship between the actors and the audience and shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors. (Hou Baolin. 1982:02)参考格式(Liu Miqing 2010, 17) --[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

Secondly, crosstalk is the art of laughter. Crosstalk uses laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties 没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class没有连接词--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC). Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist. (Hou Baolin. 1982:03)

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary. (Hou Baolin. 1982:04)

Crosstalk belongs to the art of drama, but it is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes it relies on the plot, sometimes it is not needed, but win the applaud of audience by the charm of language. “Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors . (Hou Baolin. 1982:04)

===Famous Artists of CrossTalk===

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower” . Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao, 2018 )

===Terms and Expressions===

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

===Questions===

1.When did crosstalk form its format?

2.What is Taiping lyrics?

3.Who was regarded as the “ancestor”of crosstalk art ?

4.What are the four basic skills of crosstalk?

===Answers===

1.It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty.

2.Taiping lyrics (most of which contain the meaning of peace and prosperity) is the content to be sang in the crosstalk.

3.Zhu Shaowen.

4.They are speaking, imitating, teasing and singing.

===References===

1.Hou Baolin,Xue Baokun,侯宝林,薛宝坤.(1982)，《相声溯源》，People's Education Press

2.https://cul.sohu.com/20090619/n264630449.shtml

3.https://baike.so.com/doc/1925383-2037001.html

4.https://baijiahao.baidu.com/s?id=1590742532351773378

注意参考文献格式：
Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 05:13, 18 December 2020 (UTC)

==Liu Yi 刘艺==
Go 围棋--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 9 November 2020 (UTC)
===GO - Liu Yi 刘艺 202070080640 MTI===
Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2]

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent[1]. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones.[2](NRICH Team, Going First, 2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] Such groups are said to be unconditionally alive.

A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded.[3] (Iwamoto, Kaoru,1977)Such groups are said to be unconditionally alive.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position. Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go:
• Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board.
• Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn.
Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4]

Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game.[4](British Go Association,2007)--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:51, 19 December 2020 (UTC)

Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular.[5] The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

===Terms and Expressions===
Go 围棋 heuristic 启发式的
adversarial game 对抗性游戏 intersection 交叉点
board 棋盘 black 黑棋
formation 阵型 white 白棋
move 走棋 scoring rule 计分规则
liberty 自由度 player 棋手

===Questions===
1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:36, 9 December 2020 (UTC)

===Answers===
1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:35, 9 December 2020 (UTC)

===References===
[1]Matthews, Charles (2004). Teach Yourself Go. McGraw-Hill. ISBN 978-0-07-142977-1.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

==Liu Yiyu 刘怡瑜,202070080598 MTI 标题 is missing--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 08:21, 14 December 2020 (UTC)==

===The Four Most Handsome men in Ancient China===
It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent.

These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.（Wang Zhenbo 2008,59-60）

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others.

At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar.

Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature.

He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（Liu Xixue 2003,63-64）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale.

Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance.King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior.

Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（Wang Zhenbo 2008,59-60）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today.

His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years.

16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（Wang Zhenbo 2008,59-60）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.”

History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties.

It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（Wang Zhenbo 2008,59-60）

===Terms and Expressions===
Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

英文书名要用斜体--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:43, 19 December 2020 (UTC)

===Questions===
1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

===Answers===
1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

===References===
[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

参考文献格式错误--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:44, 19 December 2020 (UTC)

==Lo, Minh Thao==

===Answers===
===References===
==Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599 英语笔译==

===Mogao Grottoes===

===Introduction===

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). (Fan Jinshi 2010，170)

Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups. (Sha Wutian 2020, 122)

====[[File:Iconic Building of Mogao Grottoes.jpg|200px|thumb|left|Iconic Building of Mogao Grottoes]]====

===History===

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

Mogao Grottoes were not built in one day. According to relevant records in the Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. (Fan Jinshi 2010，175-178)

By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people. After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金). (MA Shichang 2010, 303) After that, his later generations governed Dunhuang Prefecture and constructed multiple family caves such as Cave 55. (Gao Xiujun 2016, 9)

During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

====[[File:Taoist Wang Yuanlu.jpg|100px|thumb|left|Taoist Wang Yuanlu]]====

===Art===

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types: Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

====[[File:A Chaitya with a Central Pillar.jpg|200px|thumb|left|A Chaitya with a Central Pillar]]====

====[[File:A Prince is Feeding Hungry Tigers with His Body.jpg|200px|thumb|left|A Prince is Feeding Hungry Tigers with His Body]]====

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174)

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In the Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)

The characteristics of the statues in the Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. （Duan Wenjie 1994, 164)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174)

In the Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. ( Fan Jinshi 2010, 174) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175)

In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96. In 781-848A.D, Hexi region fell into the Tibetan. Hence, there was an interesting change: the king of the Tibetan took the place of central-plain emperors in the wall-painting.( Fan Jinshi 2010, 175) --[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:32, 18 December 2020 (UTC)

====[[File:Cave 251 in Northern Wei.jpg|200px|thumb|left|Cave 251 in Northern Wei]]====

====[[File:Cave 68 in Tang Dynasty.jpg|200px|thumb|left|Cave 68 in Tang Dynasty]]====

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are generally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. (Rong Xinjiang 1999, 248)

The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogao Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties. (Rong Xinjiang 1999, 248)

====[[File:Cave 3 in Yuan Dynasty.jpg|200px|thumb|left|Cave 3 in Yuan Dynasty]]====

===Terms and Expressions===

hermit 隐士

stupas 舍利塔

Emperor Wuzong ofTang Dynasty 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

===Questions===

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

===Answers===

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

===References===

Fan Jinshi 樊锦诗.(2010). ''敦煌石窟'' [The Caves of Dunhuang]. Gansu: The Dunhuang Academy 敦煌研究院.

Gao Xiujun 高秀军.(2016). ''敦煌莫高窟第55窟研究'' [Research on the 55th Grotto of Mogao Grottoes in Dunhuang].Lanzhou University 兰州大学.

MA Shichang.(2010). Buddhist Cave-temples and the Cao Family at Mogao Ku, Dunhuang. MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010).'' 敦煌藏经洞的性质及其封闭原因'' [The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Sha Wutian 沙武田. (2020). 佛教供养与政治宣传——敦煌莫高窟第156窟供养人画像研究 [Buddhist offerings and Political Propaganda -- A Study on the Portrait of the Patron of the 156th Grottoes in Dunhuang].''中原文物'' Cultural Relics in Central Plain, No.215,118-128.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan.

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

==Four State-level Cultural Relics Luo Weijia 罗维嘉 Student No.202070080600 MTI ==

===Four State-level Cultural Relics===

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.

China, home to one of the world’s most ancient civilizations, abounds in cultural relics, from ancient tombs, architecture, instruments to handicrafts, historical books and so on. They embody rich information about history and culture and vividly display the process of Chinese cultural development. The astounding artistic and technological levels shown in those relics continue to impress people today.'''Quotation missing. E.g. (Gui Ninghuo 2009, 12)'''--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

====Simuwu Ding====

[[File:Simuwu Ding.png|200px|thumb|left|Simuwu Ding]]

In ancient China, ding was a symbol of imperial power. Therefore, ding is often used in phrases and expressions in the Chinese language to imply authority (Anna, 2015). For instance, wending, literally “enquiring about ding”, means plotting to usurp political power, yiyan juiding, literally “One word of promise is equal to nine dings”, means a decisive comment(Lv Shuxiang, 2016).

Simuwu Ding was a very precious cultural relic, found in 1937 in Anyang of Henan Province. It was produced in the late Shang Dynasty more than 3000 years ago. This square-shaped ding is the largest existing bronzeware in the ancient world. It is now housed in the National Museum of China in Beijing (Li Weiming, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC) dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).

Ding was a cooking vessel probably used to boil or cook food in the primitive society. At that time, dings were made of clay. During the Shang and Zhou (11th century-771 BC)'''Is this time correct? 11th century? ''' dynasties, bronze cast technology reached a very high level in China. Therefore, people used bronze to cast ding. However, dings were no longer cooking utensils in ordinary people’s life but an object for important ceremonies to offer sacrifices (Anna, 2015).--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 16:04, 19 December 2020 (UTC)

Simuwu Ding was cast by Emperor Wuding of the Shang Dynasty as a ritual object for a ceremony to offer sacrifices to his mother. The three characters simuwu form an inscription on the inside of the sidewall. According to archeologists, si means sacrificial ceremony and muwu is the name of the emperor’s mother. Later on, Simuwu became the name of this huge ding (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie (animal faced creatures) and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

Simuwu Ding is 1.33m high, 1.10m long and 0.78m wide, weighing 832.84kg. At that time, it needed 1000kg of metal and two to three hundred workers to produce it. This ding is solid in build, magnificent in appearance and was made with fine craftsmanship. The four pillar legs are thick and powerful. Each side has a blank space in the middle, surrounded by a band of decoration featuring taotie'''(animal faced creatures) 饕餮：其状如羊面人身，眼在腋下，虎齿人手，最大特点是能吃。 ''' and kuilong (one-legged dragons), symbolic of harvest and auspiciousness. Simuwu Ding represents the highest level of bronze cast technology in the Shang and Zhou dynasties (Li Weiming, 2015).

==== The Chime Bells of Marquis Yi ====

[[File:The Chime Bells of Marquis Yi.png|200px|thumb|left|The Chime Bells of Marquis Yi]]

The chime bells, or bianzhong, are a kind of percussion musical instrument made of bronze. China is the earliest country to manufacture and use such instrument. Chime bells were divided into groups according to their size, temperament, pitch and were hang on a rack. A small hammer or wooden club is used to hit the bell to make a resonant and agreeable sound (Hubei Museum, 2015).

The Chime Bells of Marquis Yi are the largest and the most complete ancient chimes existing today in China. They were unearthed from the tomb of Yi, the Marquis of Zeng, a small state of the Warring States Period (475 BC- 221 BC), in 1978. When they were found, all bells were still hanging on their rack. They are now preserved in Hubei Museum (Hubei Museum, 2015).

There are altogether 65 bells hung in eight groups on wooden or bronze bars. The rack, 10.79m long, 2.67m high, is made of three bars, namely, the upper, middle and lower bars, held up by six bronze warriors and a few round, wooden posts. The 65 bells weigh over 2500kg. The largest bell is 1.52m in height and weighs more than 203.6kg. The smallest bell is about 20cm in height and weighs 2.4kg. It is extremely rare to see a set with so many bells of such weight and size (Wan Quanwen, 2020).

The Chime Bells of Marquis Yi are exquisitely cast and look very elegant. To help artists to perform music, there are instructions on each bell with 3700 characters in all (Wan Quanwen, 2020). There are also words about the hanging indication and musical temperament that are called the “valuable music theory work”. The Chime Bells of Marquis Yi show that, as early as the Warring States Period, China already had a very rich musical culture. The chime bells still could produce a pure and accurate note after unearthed. The tone is excellent and the timbre is pure.

After excavation of the chime, Chinese musicians created a melody entitled Bianzhong Yuewu (music and dance accompanied by chime bells), to once again demonstrate the charm of ancient Chinese music (Zhou Yi, 2016).

==== Jade Suit with Gold Thread ====

[[File:Jade Suit with Gold Thread.png|200px|thumb|left|Jade Suit with Gold Thread]]

Ordinarily, the texture of clothes is cotton, flax or silk. However, there were suits made of gold and jade, that is “Jade Suit with Gold Thread”(Wang Jing, 2008).

The emperors of the Han Dynasty believed that jade could prevent their corpses from decaying, and they regarded jade as full of dignity and nobility. Therefore, they used jade suits as their grave clothes. Gold thread, silver thread or copper thread was used to link pieces of four-square jade separately that are called Jade Suit Sewn with Gold Thread, Jade Suit Sewn with Silver Thread and Jade Suit Sewn with Copper Thread (Wang Jing, 2008).

The two sets of jade suits of the Han Dynasty tomb unearthed in Mancheng of Hebei Province in 1968 revealed to the world the real features of such grave clothes (Li Yawen,2019). Their owners were Liu Sheng, Prince Jing of Zhongshan, and his wife, Dou Wan, of the Western Han Dynasty(206 BC-25 AD).

In appearance, a jade suit follows the shape of a human body. It consists of five parts, i.e., head mask, coat, trousers, gloves and shoes. Each part is made of pieces of jade. The size and shape of each jade piece was designed according to its position. Most jade pieces are shaped in square or rectangular form, but there are a few in trapezoid, triangle or multi sided shapes. Each jade piece is perforated at its corners, through which a gold thread goes through to sew the pieces together. Liu Sheng’s jade suit is rather large, 1.88m long and made up of 2498 pieces. The gold thread used for this suit is about 700g in weight (Li Yawen, 2019).

Such refined suits made some 2000 years ago in the Han Dynasty indicate the high design level and excellent craftsmanship of that time. In fact, of course, the rulers’ dream of preventing their corpses from decaying could never be realized. The practice of wearing jade suits was banned during the Three Kingdoms Period (220-280) (Wang Jing, 2008).

==== Bronze Galloping Horse ====

[[File: Bronze Galloping Horse.png|200px|thumb|left| Bronze Galloping Horse]]

In 1969, a galloping horse in bronze was unearthed in an Eastern Han Dynasty (206 BC-220 AD) tomb in Wuwei, Gansu Province in western China. The bronze statue is a famous representative sculpture of the Han Dynasty. Wuwei County leapt to fame with the discovery of this national treasure (Li Xiaohu & Zhao Jing, 2019).

The 34.5 cm-high bronze horse, covered with spots of verdigris, has a full and robust body. The prancing legs, flying tail, slightly dilated nostrils portray a galloping horse. What is ingenious about it is that one of its hind feet is stepping on a flying swallow. That means the galloping horse is faster than a flying swallow (Wang Qian, 2020). The positioning of its four legs strictly conforms to that of a living horse and is highly praised by many local and foreign archeologists and artists.

In this work, Chinese ancient artists combined realism and romanticism, and ingeniously integrated galloping horse and flying swallow through rich imagination, original conception and skillful craftsmanship (Wang Qian:10-11). The swift flying swallow sets off the amazingly fast speed of the galloping horse. According to analysis of its mechanics, Bronze Galloping Horse finds a center of gravity in the swallow to give the statue its stability. The romantic image of the swallow sets off the power and strength of the horse, providing a rich imaginative experience for viewers (Li Xiaohu & Zhao Jing, 2019).

Bronze Galloping Horse is believed to be a portrayal of the "heavenly steed" of Chinese legend. It is of high craftsmanship, fully expressive of the horse-breeding culture of China's western regions. It has become a symbol of Chinese tourism and a representative work that brings forth the time-honored cultural tradition of the Chinese nation and the oriental aesthetics to the world. The cultural relic is now preserved in the Gansu Provincial Museum(Wang Qian, 2020).

===Terms and Expressions===

Simuwu Ding 司母戊鼎

Emperor Wuding of the Shang Dynasty 商王武丁

taotie 饕餮

National Museum of China 中国国家博物馆

chime bells/bian zhong 编钟

Marquis Yi 曾侯乙

The Chime Bells of Marquis Yi 曾侯乙编钟

Bianzhong Yuewu 《编钟乐舞》

Hubei Museum 湖北省博物馆

Jade Suit with Gold Thread 金缕玉衣

Jade Suit Sewn with Silver Thread 银缕玉衣

Jade Suit Sewn with Copper Thread 铜缕玉衣

Bronze Galloping Horse 铜奔马/ 马踏飞燕

Gansu Provincial Museum 甘肃省博物馆

===Questions===

1. What does ding symbolize?

2. When was Houmuwu Ding produced?

3.How many bells do the chime bells of Marquis Yi contain?

4.What is the size of the largest bell?

5.What kind of thread was used to link pieces of four-square jade?

6.When did the Jade Suit with Gold Thread unearth?

7.What is ingenious about the Galloping Horse?

8.Where is Bronze Galloping Horse preserved now?

===Answers===

1.Ding was a symbol of imperial power.

2.It was produced in the late Shang Dynasty more than 3000 years ago.

3.They contain 65 bells.

4.The largest bell exceeds 1.5m in height and weighs more than 200kg.

5.Gold thread, silver thread or copper thread was used to link pieces of four-square jade.

6.It unearthed in 1968.

7.It is that one of its hind feet is stepping on a flying swallow.

8.It is now preserved in the Gansu Provincial Museum.

===References===

Anna 安娜.(2015).中国人的鼎文化. 科学大观园(15),72-73.

Hubei Museum 湖北省博物馆.(2015).曾侯乙编钟. 中华文化论坛(11),2.

Li Xiaohu & Zhao Jing 李小虎 & 赵静.(2019).青铜雕塑“马踏飞燕”的艺术解读. 艺术教育(09),170-171.

Li Weiming李维明.(2015-06-19).司母戊鼎研究历程初览(上).中国文物报,006.

Li Weiming李维明.(2015-07-03).司母戊鼎研究历程初览(中).中国文物报,006.

Li Weiming李维明.(2015-07-31).司母戊鼎研究历程初览(下).中国文物报,006.

Li Yawen 李雅雯.(2019)浅说满城汉墓中的金缕玉衣 .文物鉴定与鉴赏 (03):38-39.

Lv Shuxiang 吕叔湘.(2016)现代汉语词典 (第七版)[M]. 北京:商务印书馆.

Wang Jing 王静.(2008).汉代玉衣研究(硕士学位论文,河北师范大学).

Wang Qian 王倩.(2020).青铜雕塑“马踏飞燕”的研究.艺术品鉴, (26):10-11.

Wan Quanwen 万全文.(2020).曾侯乙编钟.文史知识 (11):1-2.

Zhou Yi 周仪.(2016).“八音合鸣乐舞齐容”——大型乐舞作品《编钟乐舞》述评. 戏剧之家(19),66-67+79.

== Architecture and Gardens, The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601 英语笔译 ==

===The Forbidden City===--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 08:30, 2 November 2020 (UTC)

====I.Introduction====
The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26)
The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)
====[[File:A Panorama view of the Forbidden City.jpg|300px|thumb|left|A Panorama view of the Forbidden City]]====

====II.The Name of the Forbidden City====
The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The common English name "Forbidden City" is the translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which was called the Ziwei Star in ancient China. The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, and no one could enter and leave the palace without the emperor’s permission. Cheng means city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====III.The History of the Forbidden City====

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and cost more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695. After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek. After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====IV.The Structure of the Forbidden City====
Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

Firstly, the Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City even the whole city, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north.(Xie Li 2005,(03)100-102)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.(????????quotation)
--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

====[[File:The layout of the Forbidden City.jpg|200px|thumb|left|The layout of the Forbidden City]]====

====VI The Collections of the Forbidden City====
The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums were descended from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)

The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

The collections of the Palace Museum are based on the Qing imperial collections, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought back to the Palace Museum later, for example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:44, 18 December 2020 (UTC)
====[[File:Han Banquet map.jpg|200px|thumb|left|Han Banquet map]]====
====[[File:Painted Pottery Figurine of a Female Dance.jpg|200px|thumb|left|Painted Pottery Figurine of a Female Dance]]====
====[[File:Mirror with the Twelve Astrological Emblems.jpg|200px|thumb|left|Mirror with the Twelve Astrological Emblems]]====
====[[File:Snuff Bottle with Painted Enamel Design of Western Women.jpg|200px|thumb|left|Snuff Bottle with Painted Enamel Design of Western Women]]====

====Terms and Expressions====
palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

====Questions====
1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

===Answers===
1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

===References===

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

==Chinese Marriage Customs Mo Ling 莫玲 202070080602 【专业 is missing】==
<center> 莫玲 Mo Ling </center>

===Chinese Marriage Customs===

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents. 【quotation is missing】
===Six Procedures===

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refersthat if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers【refers to a practice that..】 that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose, which represents fidelity. Besides, mandarin ducks, phoenix【？】 and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask【asks】 the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the【可删】 one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential【prospective】 bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to 【inform sb of sth 】the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.(Gao Xiaoqian 2017,235)

===Customs===

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, 【 connective is missing】many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.(Zhang Yueyong 2013, 47-48)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride 【before or during？】. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls【addresses】 the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.(Gao Xiaoqian 2017,235)

===Development===

As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi & Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.

As time goes by, there are many reforms about marriage right now【nowadays】. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more.(Zhang Yueyong 2013, 47) In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel.(Zhou Dandi & Yue Shufa 2012,15)Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now【the present day】. There still exist betrothal gifts and dowry【dowries】, and many couples choose to wear red costumes. The groom should 【？】go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep【deeply】 rooted in the hearts of Chinese people and shows【show】--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 14:49, 16 December 2020 (UTC) a unique Chinese characteristics.

===References===

Gao Xiaoqian. 高筱倩.(2017) 中国传统婚嫁习俗研究［The Research on Traditional Chinese Marriage Customs］戏剧之家[Drama House] 235.

Zhang Yueyong. 张月莹.(2013) 中国近代婚嫁礼俗及婚姻观念转变的探索[A Study on the Change of Marriage customs and Marriage Concepts in Modern China] 松州学刊［Songzhou Academic Journal］ 47-48.

Zhou Dandi, Yue Shufa. 周丹迪, 岳书法.(2012) 浅析近代以来中国婚嫁民俗的演变[On the evolution of Chinese marriage customs since modern times] 文化学刊[Cultural Academic Journal] 15.

===Terms and Expressions===

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

===Questions===

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

===Answers===

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

==Ngo, Thi Minh Huong==

====Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam====

==Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603专业 is missing--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 08:16, 14 December 2020 (UTC)Mo Ling==

===Twelve Animals of the Chinese Zodiac===

[[File:oyltacz.jpg|300px|thumb|left]]2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people.

2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2000 years since its origin(The Editorial Board, 2010: 2). The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle(The Editorial Board, 2010: 2). This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries(The Editorial Board, 2010: 12-13). With its cultural connotation and time-honored impact, the Chinese zodiac have(has) been engraved in every Chinese people. --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

====Origin====

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence.(there are various opinions,however,many of them are presented without sufficient evidences) There are many myths explaining these animal signs and their arrangement. Among them the most enduring(time-honored) one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who (that)made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived(The Editorial Board, 2010: 6). Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac(The Editorial Board, 2010: 5-7). There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research(researches) on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes(The Editorial Board, 2010: 4-5).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

====Folk Culture and Belief ====

The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition.

The zodiac sign not only can (can not only)reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition. (quotation is missing) --[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:08, 17 December 2020 (UTC)Mo Ling

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. According to superstitious belief in China, Zodiac animals are combined with the Five Elements that consist of Metal, Wood, Water, Fire and Earth, to tell one's destiny. Since people have their zodic(zodiac) sign's fixed elment, there are many folk beliefs based on this. For example, people born in the years of Metal Rat are believed to have a promising future; people born in the years of Fire Rat are deemed to be clever and intelligent and Wood Rat independent and self-respected(The Editorial Board, 2010: 40).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the year of Dragon. Since dragon is regarded as the auspicious and divine creatures(creature) , the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society(Yip et al., 2002: 1804).

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is(are) born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight(fight against) each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief(The Editorial Board, 2010: 34-35). And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.

====Conclusion====

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have(has) developed a profound connotation and implications through generation(generations). Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it(The Editorial Board, 2010: 1-2).--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 06:20, 17 December 2020 (UTC)Mo Ling

===References===
《大中国上下五千年》丛书编委会(2010) The Editorial Board of the ''Five Thousand Years of Great China''（''Dazhongguo Shangxia Wuqiannian''） ''Series'',《中国生肖文化》''The Culture of Chinese Zodiac'', 北京：外文出版社 Beijing: Foreign Languages Press.

Yip, Paul S.F.伊普, Lee, Joseph 李 and Cheung, Y.B.张 (2002).The Influence of the Chinese Zodiac on Fertility in Hong Kong SAR 论生肖对香港生育率的影响. ''Social Science & Medicine''《社会科学与医学》, Volume 55, Issue 10 第55卷第10期, 1803-1812.

===Terms and Expressions===

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Five Elements 五行

Metal, Wood, Water, Fire and Earth 金木水火土

Eight Characters 八字

===Questions===

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

===Answers===

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

==Lisu People and Daogan Festival of Lisu Ethnic Minority Peng Ruihong 彭锐宏 202070080641==
--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 08:20, 2 November 2020 (UTC)

====Introduction of Lisu people and Daogan festival====

The Lisu ethnic group are the Tibeto-Burman ethnic group living in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.

The Lisu ethnic group is the Tibeto-Burman ethnic group whose people live in mountainous areas such as Burma, southwest China, Thailand, and Arunachal Pradesh in India.--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example1.left.jpg|300px|thumb|left]]

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan and Sichuan provinces in China. The Lisu nationality is one of the 56 nationalities officially recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)

There are about 730,000 Lisu people living in Lijiang, Baoshan, Nujiang, Diqing, Dehong and other counties in Yunnan province and Sichuan province in China. The Lisu nationality is one of the 56 official nationalities recognized by China. In Myanmar, the Lisu ethnic group is recognized as one of the 135 ethnic groups with an estimated population of 600,000. Approximately 55,000 Lisu people live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans in the tribal clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames come from their own hunter work in primitive times. But later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture. (Ernst, Gabriel 2019)

The Lisu tribe consists of more than 58 different clans. Each clan has its own name or surname. The most famous family clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the surnames came from their own hunter work in primitive times. And later, they adopted many Chinese surnames. Their culture has the same characteristics as the Yi nationality or Nuosu (Lolo) culture does. (Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic group in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, the traditions were once lost in Nujiang Prefecture and were recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).(Ernst, Gabriel 2019)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

[[File:Example2.left.jpg|300px|thumb|left]]

====Legend====

During the Ming Dynasty, when people not belonging to the same clan of feudal China invaded the borders of Yunnan, the king sent Wang Ji (王骥), the ministry of war, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. Later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the souls of the brave soldiers who died bravely defending the border, the Li tribe held the "Up and down the mountain" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)

During the Ming Dynasty, when people of different clans of feudal China invaded the borders of Yunnan, the emperor sent Wang Ji (王骥), the war department of the Chinese feudal ministry, to resist the enemy with troops. Wang Ji united with the local people of Li clan and soon expelled the invaders. But later, Wang Ji was killed by traitors. To commemorate Wang Ji's great achievement and to pray for the brave soldiers who died bravely in defending the border, the Li tribe held the "Going up to the mountain of swords and going down to the sea of fire" event. (上刀山，下火海), and designated the 15th day of the first month of the lunar calendar every year as the Knife Gan Festival.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Meaning====

Going up to the knife mountain and going down to the sea of fire are the main custom performances of the Taozhen Festival, which reproduce the life experience of people living in mountainous areas as they climb the mountains and the hard spirit and skills of climbing.(Li Zhihuan,2010)

Going up to the mountain of swords and going down to the sea of fire is one of the the main custom performances of the Taozhen Festival, which came from the life experience of people living in mountainous areas as they climb the mountains with the hard spirit and skills of climbing.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Performing====

[[File:Example3.left.jpg|300px|thumb|left]]

Pine trees were used as tool poles, iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. When we go up the rice mountain and down the fire, we play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals from pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Setting , knife pole , vertical pole , sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the knife bearer grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When the knife-bearer reaches the top through the three scissors, the knife-bearer opens the lock of heaven, takes out the grains and flowers, spreads them out into the boiling crowd, and then places the red ribbon on the colored door, over which he sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth, which showed the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)

Pine trees were used as tool poles, with iron knives as tool ladders, crinkled paper as flowers, and bamboo as flower sticks. Before people going up the mountain and down the fire, they play cowhide drum, gong , hairpin , Suo na (唢呐) and other musical instruments under the knife pole. There are strict procedures and rituals of pointing flowers, pointing knives, playing knives, tying knives, tying flowers, welcoming flowers, and altars. Settings, knife pole, vertical pole, sacrificial dragon , knife stand and dismantling knife (in the sea of fire). Knife poles are usually called gold pillar, silver pillar or male pillar and female pillar respectively, representing the dead and the living. Thirty-six long sharp knives representing 365 days a year are tied to the sides of the ladder with paper flowers made of five-color paper. After the knife poles are tied, Heung Tong/Heung Tong (巫师) recites the words in his mouth and performs the knife dance with drum music. After the knife dance, to the sound of Suo na, gongs and drums, the player grasps the blade with both hands, steps on the blade with bare feet and then climbs up. When he reaches the top through the three scissors, he opens the lock of heaven, takes out the grains and flowers, spreads them out into the lively crowd, and then places the red ribbon on the colored door, sings the old prayer song, and then he comes down from the pole of the knife again. After that, he stepped barefoot into the burning charcoal fire, licking the burning plow with his tongue and biting the burning chains with his teeth. All of these show the national spirit of the Li people and their superb performance skills.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Development====

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and perform various difficult moves at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the good people of the Lisu people to perform their stunts.(Li Zhihuan,2010)

According to legend, it commemorates an ancient Han Chinese hero who showed great kindness to the Lisu people. The Lisu people made the anniversary of the hero's death a traditional holiday for their own people, and used symbolic rituals such as going to the Mountain of Swords and the Sea of Fire to express their feelings of willingness to go through fire in return. On the day of the Knife Festival, several able-bodied men first perform the "firewalking" ceremony. They jump into the red-hot coals with bare feet and perform various stunts. On the second day, they sharpen 36 long knives and tie them to two 20-meter-high wooden racks with rattan strips, forming a knife ladder. With bare hands and feet, the performers climb to the top from the edge of the knives and make various difficult performances at the top of the pole. Today, this thrilling traditional sacrificial ritual has evolved into a sporting event for the Lisu people to perform their stunts.(Li Zhihuan,2010)--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

====Terms and Expressions====

1.Lisu people 傈僳族

2."Up and down the mountain" event 上刀山，下火海

2.going to the Mountain of Swords and the Sea of Fire上刀山，下火海--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:00, 17 December 2020 (UTC)

3.The Lisu tribe 傈僳族

4.clan 氏族

5.primitive times 原始时期

====Questions====

1.How many Lisu people live in Yunnan and Sichuan？

2.How many clans make up the Lisu people？

3.Who united with the local people of Li clan and soon expelled the invaders？

4.Which day is the Daogan Festival？

5.What musical instruments do they play under the knife pole?

====Answers====

1.About 730,000 Lisu people.

2.The Lisu tribe consists of more than 58 different clans.

3.Wang Ji.

4.15th day of the first month of the lunar calendar every year.

5.They play cowhide drum, gong , hairpin , na (唢呐) and other musical instruments.

====References====

*Ernst, Gabriel (21 October 2019). "'We try to not be Thai': the everyday resistance of ethnic minorities"
*"Yunnan Province of China Government Web". Eng.yn.gov.cn.
*李智环．Li Zhihuan. 傈僳族人口分布及形成原因分析 [Analysis of the Distribution and Causes of the Formation of the Lisu People] 《保山学院学报》， 2010 [Journal of Baoshan College], 2010

==Phyo, Su Kyi==
Culture==Topic-Chinese Clothing== Phyo, Su Kyi, Student No-20191108000,Major: Comparative Literature and Cross-cultural Studies.

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. (www.topchinatravel. com, 2004)

Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.(Mei Hua-2010-page-1)

1-Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2)

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start paying or to pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. (Jiangsu,2016,page-2).

Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.(Jiangsu, 2016,page-2)

Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design.(Jiangsu,2016, page -3)

1:1.Traditional Han Chinese Clothing (Han Fu)

It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers.(www.topchinatravel.com, 2019-Aug-2)

1:2.Chinese Suit(Tang Zhuang)

It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.(www.topchinatravel. com, 2019,Aug-2.)

1:3.Cheongsam(Qi Pao)

Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today.(www.topchinatravel.com, 2019,Aug-2.)

1:4.Chinese Tunic Suit(Zhongshan Zhuang)

Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades.(www.topchinatravel. com,2016,Auge-2.)

2.Chinese Traditional Clothing Elements

There are many old stories in ancient Chinese civilization, and Chinese traditional elements come up with the tenacity of the Chinese nations long history. Different times has their unique cultural connotations and form elements,which include Chinese architecture, costumes, traditional Chinese painting and folk art etc., and those cultural connotations and form elements are precious heritage that the ancestors leave to their off-springs. The change of dynasties in the history of our country lead to changes of cultural centers, which finally lead to the appearance Chinese traditional elements with different representative features in each historical periods, nations and regions. These elements include: Chinese silk ,cloth of brocade, hemp,blue printed fabric; chirpaur, Chinese -style chest covering, Chinese tunic suit, collar,surplice, mandarin and split etc.; colorful ethnic colors: such as bright red,green,yellow and blueetc.;Neolithic patterns, bronze patterns in Shang and Chou dynasties, ancient lacquer were pattern in Qin and Han dynasties, Buddhism patterns in Wei, Jin, Southern and Northern dynasties and traditional decorative patterns in Tang,Sing and Qing dynasties. The essence of Chinese traditional culture which bear the role of inheriting national culture, and is the unique and external characteristic of Chinese nation.(Jiangsu,2016, page-3)

2:1.The Aesthetic Performance of Design

Chinese traditional clothing of each dynasty has its own unique clothing style and design, but no matter how the style changes,the mainstream concept of traditional Chinese clothing always emphasizes symmetry and balance, and the clothing symmetry can be seen in sleeve, placket, hem,pattern ect.Chinese traditional clothing design is particular about proportion,such as the ancient Chinese woman dresses, short jacket unlined uper garment (named Ru)marching long dress , and it emphasizes the perfect proportion which hold that"the upper part should be short, the below part should be long"; in Song and Ming dynasties people the collocation of long BeiZi(a kind of dress that girls dress in ancient times) and short skirt, the "long upper part,short below part"ratio perfectly reflects the proportions beauty of the clothing.(Jiangsu,2016, page-5.)

2:2.The Aesthetic Performance of colors

Green, white, yellow, red, black ,the five colors, form the Chinese traditional color system. They have obvious implied meaning and identification.Black stands for that the dark heaven, and yellow stands for the earth at dusj, and black and yellow stand for the heaven and the earth ,and they are mostly used in the Kings' clothing, About the colorific choice of Chinese traditional clothing the yellow and red which the historical role is prominent perform particularly well. In the late period of the Warring States as a royal color yellow appeared and became the supreme ruler's senior clothing color .People advocate yellow but don't prohibit yellow.(Jiangsu, 2016,page-6)

In Chinese traditional clothing colors red has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)
In Chinese traditional clothing colors, the red color has evoluted from the original noble characteristic tovthe civilians characteristic. It evolution has experienced a certain period of time. The original red uses magenta, red ,cinnabar to represent. It is the noble officials' clothing color.
Many designers combine Chinese red and modern clothing design to embody the application of Chinese traditional clothing elements in modern clothing design.(Jaingsu,2016-page-7)--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 08:07, 19 December 2020 (UTC)su kyi

==Conclusion==
Chinese traditional culture is an indispensable source of inspiration in fashion design.Therefore, we should advocate the national advanced culture, make the Chinese traditional culture achieve the development in the clothing design.

Trems and Expressions

历史-history,

期-period,

世代-generations,

服装-clothing,

设计师-designers ,

装饰-ornamentation

中国服饰- Chinese clothing

服饰-Costumes

传统服装-Traditional clothing

服装设计-Clothing design

时尚设计-Fashion design

几代服装设计师-Generations of clothing designers

中国西装-Chinese Suit

旗袍-Cheongsam

中山装-Chinese Tunic Suit

中国传统元素-Chinese traditional elements

===Questions ===

1-What’s archaeological findings in Chinese fashions through the ages?

2-What's Traditional Clothing?

3-What's Traditional culture indispensable?

4-How is means Han Fu?

5-What's the popular Chinese attire?

6-How called was Chinese Tunic Suit?

7-What'are include Chinese traditional elements?
--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 04:33, 10 December 2020 (UTC)Su Kyi

==Answers===
1- A wealth of archaeological findings coupled with ancient mythology, poetry,
and songs enable us to see the development of distinctive chinese fanshions through the ages.

2-Traditional clothingis the clothing which can reflect the traditional clothing
culture with Chinese characteristics.

3-Chineset traditional culture is an indispensablevsource of inspirationin fashion
design.

4-Han Fu is fu means clothes in Chinese.

5-Cheongsam is the most popular Chinese attire inthe world today.

6-It is also called the Yat-sen Suit,it is designed byDr.SunYat-sen by combining the western-style suit and Chinese attire.

7-Chinese traditional elements include: Chinese silk,cloth of brocade, hemp, blue printed fabric.

--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 11:56, 9 December 2020 (UTC)Phyo Su Kyi

===References===

1.Jiangsu.,(2016), “Influences of Chinese Traditional Clothing Elements on Modern Clothing Design”,

Nanjing University of Finance and Economics,Soochow University,Published by Atlantic Press.

2.Mei Hua,(2010), `Chinese Clothing´, Cambridge University Press The Edinburgh Building,Cambridge CB28RU,UK Published in the United States of America by Cambridge University Press,NewYork
www.cambridge.orgInformation on this title:www.cambridge.org/9780521186896
Originally published byChina Intercontinental Press as Cinese Clothing(9787508516615)in2010©ChinaIntercontinentalPress.

3.https://www.topchinatravel.com/china-guide/history-of-chinese-clothing.htm

4.https://www.travelchinaguide.com/intro/clothing/--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 10:26, 9 December 2020 (UTC)Phyo Su Kyi

==Pingki, Tanchangya==

===Chinese traditional dance===

1. INTRODUCTION

There is a long recorded history in China for various kinds of dances. China is highly took position for art consisting for many modern and traditional dance genres. The dance covers a world a worldwide range, like folk dances, ballet, rituals and weeding ceremonies. We also know about that, there are also 56 officially recognized ethnic groups have their own folk dances and style of forms. The best known Chinese are the Dragon dance and Lion dances both dances were known in earlier dynasties in various forms. " Lianxiang " is a Chinese traditional dance , people usually plays it for entertainment and body building.The author presents the view that the dance can relax tendons and activate collaterals by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder, the set of movement can also exercise bones, muscles.--[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 05:14, 20 December 2020 (UTC)

2. Characteristics of the Dance

Characteristics of the movements
There have 3 characteristic of the movements are: thrashing, quivering and lowering. The performer holds bamboo pole to play various dance movements by striking shoulders, chest, waist, abdomen, buttocks, feet and acupuncture points of the four limbs, and slightly swaying knees together with shoulder vibration. The traditional movements are modified and developed which is called single- thrashing and double-thrashing. Single-thrashing movements including crouch thrashing, jump thrashing, rolling thrashing and mixed thrashing with one bamboo pole. --[[User:PINGKI TANCHANGYA 4|PINGKI TANCHANGYA 4]] ([[User talk:PINGKI TANCHANGYA 4|talk]]) 06:04, 20 December 2020 (UTC)

==The Liquor Culture of China 瞿淼 Student No.202070080604 ==
==The Liquor Culture of China 瞿淼 Student No.202070080604 英语笔译 ==--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 08:20, 2 November 2020 (UTC)

====1.The Origin of liquor in China====

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.（后面好像缺了文献的引用，参考文献中的没有在正文体现）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)
As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang is the person who invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting some. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)

With a long history of liquor-making, China boasts a variety of vintage liquor, which is renowned at home and abroad. Penetrating in China’s entire history of civilization, the liquor culture plays a significant role in many aspects, such as cuisine, literature, and health care, of Chinese people’s daily life.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

As to the origin of Chinese liquor, opinions vary and no unanimous conclusion can be drawn, and the most widely accepted version is that Du Kang invented liquor. There are divergent views on Du Kang’s identity, so far, documents have been found which recorded his deeds in the Yellow Emperor era and Xia-Shang-Zhou dynasties. And even his address is disputable. Some people think he lived in Baishui, Shaanxi province and was buried here, while others hold the opinion that he lived in Ruyang, Henan province. However, Du Kang is generally believed to be the Chinese Dionysus. According to the legend, one day it rained suddenly while Du Kang was herding the sheep. Hastily driving the sheep back to the sheepfold, he forgot some husked sorghum rice in a hollowed trunk by accident, and when he came back after a few days, the rice he left there became so fragrant that he couldn’t help tasting it. Surprisingly, it was palatable. This unexpected finding made Du Kang start to develop the liquor-brewing technique. Nowadays, Du kang has become the synonym of liquor in many places. Moreover, ancestral halls of Du Kang have been built in Baishui in Shaanxi province and Ruyang in Henan province to enshrine him. And the liquor produced in these places are called “Du Kang Liquor.”(Huang yixi, 2008, 12)--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====2.The Types of liquor in Ancient China====
With constant reform and innovation of the techniques of brewing liquor, thousands types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.

With constant reform and innovation of the techniques of brewing liquor, thousands of types of vintage liquor have been created in China. According to the different production techniques, Chinese liquor can be divided into fermented wine and distilled liquor.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States period. Shaoxing wine looks yellow and clear, hence sugar is added in its raw material. The most prominent of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on. where is the source is coming from please?

Yellow rice wine is the oldest fermented wine around the world. Shaoxing Wine, a famous specialty of Shaoxing, Zhejiang province, is the representative of yellow rice wine. It has a very long history, and the wine industry in Shaoxing was prosperous early in the Warring States Period. Shaoxing wine looks yellow and clear, because sugar is added in its raw material. (这句话的因果关系不知道是什么，改错了就删掉我的就好）The most prominent characteristic of Shaoxing Wine is that it’s fragrance improves with age. In addition to Shaoxing Wine, there are other famous yellow rice wine like Jiujiang Old Seal Wine, Mellow Wine and Dongwu Rice Wine and so on.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the originator of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by "prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council approved the inclusion of the "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared the world intangible cultural heritage. where is source coming?

Liquor and Spirits(Baijiu), a kind of distilled liquor, is divided into the following flavor types: sauce-flavor type, light flavor type, strong flavor type and other flavour types. Kweichow Moutai is a traditional Chinese specialty liquor. It is one of the world's three major distilled liquors on par with Scotch whiskey and French cognac. It is also the origin of Daqu sauce-flavored liquor with a history of more than 800 years. The style and quality of Kweichow Moutai is characterized by prominent sauce, elegant and delicate flavour, full-bodied, long aftertaste, and lasting fragrance in an empty cup". Its special style comes from the unique traditional brewing techniques formed over the years and the brewing methods are combined with the agricultural production in the Chishui River Basin, which is affected by the environment and seasonal production, retaining some of the original traces of local life. In 1996, Moutai's craftsmanship was identified as a state secret to be protected. In 2001, the traditional craft of Moutai was included in the first batch of national material cultural heritage. In 2006, the State Council included "Moutai traditional brewing process" in the first batch of national intangible cultural heritage lists, and declared it as the world intangible cultural heritage.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====3.The Types of Drinking Vessel in Ancient China====
Chinese people always pay attention to the beauty and delicacy of tableware, and we stress the exquisiteness and suitability of wine vessels when drinking. Therefore,as part of the liquor culture, drinking vessels also have a long history and varied appearances.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)(sorry,又忘记复制粘贴，直接改动了）

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels will naturally undergo corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels was basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc.

In different historical periods, due to the continuous development of society and economy, the production technology, materials, and appearance of wine vessels naturally has undergone corresponding changes; therefore, a wide variety of wine vessels have been produced. As early as the Neolithic culture period, pottery with shapes similar to later wine-ware, such as the pottery of the Peiligang culture period, appeared. The development of the liquor industry and the noble identity of the drinker have made it possible for liquor utensils to be differentiated from ordinary eating utensils. The quality of wine-ware often becomes one of the symbols of the status of drinkers. Bronze ware originated in Xia Dynasty, and the earliest bronze wine ware that has been discovered is from the Xia Erlitou culture period. Bronze ware reached its heyday in the Shang and Zhou Dynasties and declined in the Spring and Autumn Period. The purpose of the Shang and Zhou drinking vessels is basically specific.
In the Shang Dynasty, due to the development of the liquor industry and the improvement of bronze production technology, China's wine ware reached unprecedented prosperity. The bronze wine vessels of Shang and Zhou Dynasties were divided into liquor boiling vessels, liquor serving vessels, drinking vessels and liquor storaging vessels according to their purposes. Each vessel has many styles, some are in common styles, and some take animal shapes. Take Zun as an example, there are Elephant Zun, Rhino Zun, Niu Zun, Yang Zun, Tiger Zun, etc. --[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:zun.left.jpg|300px|thumb|left]]
During the Qin and Han Dynasties, lacquered wine utensils became popular in southern China. It became the main type in the Han Dynasty, Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.

During the Qin and Han Dynasties, lacquered wine utensils became popular in Southern China. It became the main type in the Han Dynasty and Wei and Jin Dynasties, and its shape basically inherited the shape of bronze liquor vessels. Porcelain roughly appeared around the Eastern Han Dynasty. Compared with pottery, the performance of porcelain surpassed that of pottery. The shape of liquor glasses in the Tang Dynasty was much smaller than it in the past, so some people think that distilled spirits appeared in the Tang Dynasty. The Song Dynasty was the heyday of ceramic production, and there were many exquisite wine vessels. People in Song Dynasty like to warm rice wine and drink it. So the matching combination of injection vessel and bowl were invented. People placed the injection vessel with wine in the bowl, and poured hot water into the bowl to warm the wine. The representative porcelain wine-ware of the Ming and Qing Dynasty is the blue-and-white porcelain wine-ware.--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

[[File:Example3.left.jpg|300px|thumb|left]]
====4.Drinking Order====
As early as the Spring and Autumn Period and the Warring States Period, drinking orders appeared at banquets in the Yellow River Basin. There are many ways to make wine orders. The way the literati and the ordinary people make drinking orders are naturally very different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking order is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".

As early as the Spring and Autumn Period and the Warring States Period, drinking games appeared at banquets in the Yellow River Basin. There are many ways to make wine games. The way the literati and the ordinary people make drinking games are naturally different. Literati often use poems or couplets, guessing characters or guessing puzzles, etc., while ordinary people use simple ways to act without any preparation. It requires a quick, witty, artistic and talented person to do liquor orders. The drinking games is of great significance to the transformation, enrichment and development of drinking rituals. It is not only an important means to add wine to the fun and to invigorate the banquet, but also to make Chinese culture enter the wine and become the Liquor Culture".--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Terms and Expressions====
1.Du Kang 杜康

2.Chinese Dionysus 中国酒神

3.husked sorghum rice 秫米饭

4.Baishui 白水县（陕西渭南市辖县）

5.Ruyang 汝阳县（河南省洛阳市下辖县）

6.fermented wine 发酵酒

7.Distilled liquor 蒸馏酒

8.Yellow rice wine 黄酒

9.Shaoxing Wine 绍兴酒

10.Jiujiang Old Seal Wine 九江成年封缸酒

11.Mellow Wine 醇香酒

12.Dongwu Rice Wine 东吴老酒

13.Liquor and Spirits 白酒

14.Kweichow Moutai 贵州茅台

15.sauce-flavor type 酱香型

16.light flavor type 清香型

17.strong flavor type 浓香型

18.Daqu sauce-flavored liquor 大曲酱香型白酒

19.the Peiligang culture period裴李岗文化时期

20.the Xia Erlitou culture period 夏二里头文化时期

21.Zun 樽

22.injection vessel and bowl 注子和注碗

23.drinking order 行酒令

23.drinking games 行酒令--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

====Questions==== （问题好像还要再加一两个忘记标准了）--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

1.Who is generally believed to invent liquor in China?

2.What is the most prominent of Shaoxing Wine?
2.What is the most prominent characteristic of Shaoxing Wine?--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:00, 18 December 2020 (UTC)

3.How to use the matching combination of injection vessel and bowl in the Song dynasty?

4.How do literati often make drinking orders in China?

====Answers====

1.Du Kang

2.It’s fragrance improves with age.

3.Place the injection vessel with wine in the bowl, and pour hot water into the bowl to warm the wine.

4.Literati often use poems or couplets, guessing characters or guessing puzzles, etc.

====Bibliography====
*Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

*Li Fangzhou 李方舟. (1998) 酒令——酒文化的珍品[Liquor-a treasure of wine culture]. 质量天地Production Room.

*Du Jinpeng 杜金鹏. (1995) 中国古代酒具[Ancient Chinese Wine Set]. 上海文化出版社 Shanghai Culture Publishing House.

*Yang Li 杨利. (2005) 酒文化及酒的精神文化价值探微[A Probe into Wine Culture and Spiritual Cultural Value of Wine]. 邵阳学院学报Academic Journal of Shaoyang University, 2005(02):82-83.

*Xu Shaohua 徐少华. (1999) 中国酒文化研究50年[Research on 50 years of Chinese wine culture]. 酿酒科技Brewing Technology, 1999(06):15-18.

*Zhao Fengqi 赵凤琦. (2014) 我国白酒产业可持续发展研究[Research on Sustainable Development of Chinese Liquor Industry]. 中国社会科学院研究生院CASS Graduate School.

*Wng Jianguo&Xu Liang 汪建国,徐亮.(2005)我国黄酒的特征及展望[Characteristics and Prospects of Chinese Rice Wine] 江苏调味副食品Journal of Jiangsu Seasoning Food, 2005(06):8-12.

*Ding Jihua 丁季华. (1991) 中国酒文化的结构与功能[The structure and function of Chinese wine culture]. 历史教学问题History Research and Teaching, 1991(2).

== China Railway High-Speed (CRH) - Rajabov, Anushervon student NO. 201921080005 Major: Comparative literature and cross culture ==

===China Railway High-Speed (CRH)===

Introduction

High-speed railway (HSR) in China is the longest network of high-speed railways in the world and is used most widely. The network of UNCC includes the recently built railway at the estimated speed of 200-350 km / h (120-220 miles per hour). The Chinese VSM accounts for two thirds of world high-speed railways. Almost all trains, the path and services of the HSR belong to the Chinese railway corporation under the CHINA Railway High Speed brand (CRH). The high-speed railway has developed rapidly in China over the past 15 years. CRH was put into operation in April 2007, the Intercity Line Beijing-Tianjin, which opened in August 2008, became the first HSR allocated passenger line. HSR applies to all administrative provincial levels, except Macau and Tibet. The total length of the HSR network reached 36,000 km (22,000 miles) in August 2020. The HSR construction boom continues, and the HSR network should reach 70,000 km (43,000 miles) in 2035. China's first high-speed trains were imported or built in accordance with the Technology Transfer Agreement with foreign trains manufacturers, including Alstom, Siemens, Bombardier and Kawasaki Heavy Industry Since the initial technical support, Chinese engineers have overpower the internal components of the train and built local trains produced by the CRRC State Corporation. The appearance of a rapidly accelerated railway in China has decreased in the way and changed Chinese society and the economy. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."[http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf]

Definition and terminology

High-speed trains in China are usually belonging to passenger trades of classes G, D and C. in class G trains (高铁; Gāotiě; "High-speed rail") are commonly used trains E In class D trains (动车; Dòngchē; "Electrical multiple unit") are presented by EMU trains operating at lower speeds, whether in high-speed or low-speed ways. The actual movement speed of class D trains can vary greatly. D211 Creament train from Guyang-east to Guangzhou-South along the High Speed Railway Guang-Guangzhou, a line with an estimated speed of 250 km / h, on average, 207 km / h per trip. The sleeping train D312 EMU between South Beijing and Shanghai at a low speed Beijing - Shanghai on average passing 121 km / h. Class C (c héngjì; “intercity”) trains that run on high-speed tracks at speeds above 250 km / h are also considered high-speed trains.[https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Influence on airlines

The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights. The effect of high-speed railway on airfare is most acute when traveling for less than 500 km (310 miles). By the spring of 2011, commercial airlines were fully stopped at previously popular routes such as Wuhan Nanjing, Wuhan Nanchang, Xi'an-Zhengzhou and Chengdu Chongqing. Flights along the routes with a length of more than 1500 km (930 miles) usually do not suffer. As of October 2013, half a speed of passengers were transported monthly on high-speed rail than in the country's airlines. where the source a
Technologies
Chinese High Speed Railway Controls Various Electric Forms of Trains, Hexie HAO Title (Simplified Chinese: 和谐号; Traditional Chinese: 和諧號; Pinyin: Héxié Hào; Harmony) is for designs which are imported from other nations and designated CRH-1 to CRH-5 and CRH380A (L), CRH380B (L) and CRH380C (L). CRH compositions are designed for fast and convenient movement between cities. The weakness of intellectual property Hexie HAO creates obstacles to China in the export of its products related to high-speed railways, which leads to the development of a fully recycled railway franchise called Fuxing Hao (Rejuvenation) that based on local technologies.[https://en.m.wikipedia.org/wiki/Wayback_Machine ]

4 + 4 HSR network

The network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km. Most of the lines follow existing routes and are for passenger traffic only. These are known as Passenger Lines (PDL). Several sections of the national network, especially along the southeastern coastal corridor, have been built to connect cities that previously had no rail links. These sections will carry both passenger and cargo. High-speed trains on HSR corridors can usually reach speeds of 300-350 km / h (190-220 mph). On mixed HSR lines, passenger trains can reach a maximum speed of 200–250 km / h (120–160 mph). This ambitious national grid project was slated to be built by 2020, but government incentives have significantly shortened the construction timeframe for many lines.[http://www.railjournal.com/A/xfeature2.html]

Advantages

HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances that: Increases economic productivity and long-term competitiveness by increasing rail capacity and unifying labor markets. Moving passengers onto high-speed lines frees up older railways to carry more cargo, which is more beneficial for railways than for passengers whose fares are subsidized. Boosts the economy in the short term as high-speed rail construction creates jobs and stimulates demand in the construction, steel and cement industries during the economic downturn. 110,000 workers were mobilized for the construction of the Beijing-Shanghai high-speed railway. Facilitates economic integration between cities and promotes the growth of second-tier cities. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains. [https://ru.qaz.wiki/wiki/China_Railway_High-speed]

Wenzhou accident

On July 23, 2011, two high-speed trains collided on the Ningbo-Taizhou-Wenzhou railway in the Lucheng district of Wenzhou city, Zhejiang province. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped. Signals failed, causing another train to stop a stopped train. Several carriages derailed. State Chinese media confirmed 40 deaths and at least 192 people were hospitalized, including 12 seriously injured. The train accident in Wenzhou and the lack of accountability by rail officials have generated public outcry and heightened concerns about the safety and management of China's high-speed rail system. Concerns about quality and safety have also influenced plans to export cheaper high-speed train technology to other countries. In the aftermath of the deadly disaster, the Chinese government has suspended approval of new rail projects and began security checks on existing equipment.[https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32]

Terms and expressions

高铁 - High-speed rail
动车 - Electrical multiple unit
和諧號 – Harmony
復興號 - Rejuvenation

Questions

1. What does the World Bank research say?
2. What forced China's domestic airlines to cut airfares and cancel regional flights?
3. How many high speed rail corridors are there in the 4 + 4 HSR network? What is their total length?
4. What caused the accident?
5. What are the benefits of HSR?

Answers

1. The World Bank study has shown that "a wide range of travelers with different income levels chooses HSR for its comfort, convenience, safety and punctuality."
2. The proliferation of high-speed rail has forced China's domestic airlines to cut airfares and cancel regional flights.
3. The 4 + 4 HSR network consists of eight high-speed rail corridors, four of which run from north to south and four from east to west, for a total length of 12,000 km.
4. The accident occurred when a train passing near Wenzhou was struck by lightning, lost power and stopped.
5. HSR provides a fast, reliable and convenient means of transporting large numbers of travelers across a densely populated country over long distances. The introduction of high-speed rail provides a 59% increase in the market potential of minor cities connected by bullet trains.

References

http://documents.worldbank.org/curated/en/451551468241176543/pdf/932270BRI0Box30ffic020140final000EN.pdf
https://ru.qaz.wiki/wiki/China_Railway_High-speed
https://en.m.wikipedia.org/wiki/Wayback_Machine
http://www.railjournal.com/A/xfeature2.html
https://www.theguardian.com/world/2011/jul/23/china-train-crash-kills-32.

==Language, The Chinese Language - Seydou, Sagara, Student No:201911080004,Major:Translation Studies===
===Introduction===
China is a very big country with a large population, multi-ethnic,and multi-lingual. Each etthnic groups may have its own lingo, or dialects. There are great differences between the dialects because of pronunciation. For example, if people in different places use their dialects to talk, they may not be able to understand each other, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Cheng Aimin (2019,

==Putonghua and Dialects==

Putonghua is the national language of China, and Chinese is the most widely spoken language in the world. More than one billion of the world's populations are Chinese speakers. The Chinese population is already one fifth of the population of the world and is rapidly expanding its presence everywhere and influence many people around the world. Cheng Aimin (2019, 25)
It is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm. Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries. According to statistics from ethnologist, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’, and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’ Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker. Cheng Aimin (2019, 126)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020. (C.Gov art 10. 2017)
Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua. . Cheng Aimin (2019, 126)

==Ancient Chinese and Modern Chinese ==
Over the past three thousand years, Chinese has undergone a long period of development and changes, and has been constantly interacting with the languages of other nations. Ancient Chinese and written Chinese characters are not exactly the same as they are now. When we visit Chinese historical sites, we often see couplets, poems, and inscriptions. Most of them are written in classical Chinese and traditional Chinese characters. Classical Chinese is a written language formed on the basis of the spoken language in the pre-Qin period. Cheng Aimin (2019, 127)

By the time of the Tang Dynasty and the Five Dynasties (the 7th century to the 10th century), the spoken Chinese had changed greatly and had significant differences with the classical style of written Chinese. The pronunciation, vocabulary and grammar had changed greatly. But all the time, some people still insisted on writing in classical Chinese, while others wrote in the commonly used vernacular (spoken Chinese). The Four Classical Novels created in the Ming and Qing dynasties, The Dreams of the red Chambers, The Romance of the Three Kingdoms, The Outlaws of the Marsh and the journey to the west, are all representative works of the ancient vernacular. After the May 4th movement in 1919, China launched a vernacular movement advocating ‘’my hand writes my speech’’. Since then, the vernacular has gradually been more widely used in the whole society, and modern Chinese has gradually developed and formed. Compared with ancient Chinese, modern Chinese absorbs a lot Western grammar and has added many disyllabic words. Cheng Aimin (2019 ,128)

==Idiomatic Phrases- Idioms, Proverbs, Common Sayings, and Allegorical Sayings.==
Many phrases with fixed meanings in Chinese have been handed down from the ancient times. Mastering these phrases will make your language more authentic and vivid. For example, ‘’Lofty mountains and flowing rivers ‘’. Playing the lute to the cow’’ ‘’prescribing medicine according to symptoms’’, and ‘’ pleading guilty by carrying a rod on one’s back’ ’these phrases, often contain four Chinese characters each, are called idioms. They are quite formal and often originate from ancient historical stories, fables, myths and legends, or literary works. Sometimes we cannot guess the meaning of an idiom simply according to the meaning of the words. For example, 崇山峻岭，流淌的河流 ‘’lofty mountains and flowing rivers’’ means meeting someone who can really understand and appreciate them, while吹牛的长笛 ‘’ Playing the lute to the cow’’ means the casting pearls before swine. Wendy Abraham: (2018 ,115)
There are also proverbs, common sayings, and allegorical sayings created and passed down by the common people in spoken language, which are quite colloquial and emotional, reflecting the unique culture of China.
Proverbs are common and easy -to understand fixed phrases used orally, often explaining a truth. For example, ‘’ if you are not in charge of a home, you don’t know how expensive the firewood and rice, if you don’t have children, you don’t know kinds your parents are.’’ ‘’Seeing is better than hearing 100 times, and doing is better than seeing 100 times’’ Cheng Aimin (2019, 129)
Common sayings mostly come in a three –character format, but there are also other formats. In addition to the literal meaning, there are deep metaphorical extensions. For example, 吹牛皮 ‘’blow cow skin’’ (meaning bragging or boating) ‘给某人. 穿紧身鞋 ‘’give SB . Tight shoes to wear ‘’ ( meaning making things hard for SB), ‘为外国人工作时的消磨时间‘’kill time when working for foreigners ‘’ ( loafing on the job) , 提一个黑锅 ‘’ carry a black pot’’ ( taking the blame for the fault of others ) , 钉在眼睛里 ‘’ nail in the eyes’’ ( thorn in the flesh ), 狗腿 ‘’ dog leg’’ ( hired thug) , 不管3x7 = 21 ‘’regardless of 3x7= 21’’( regardless of consequences, in the spite of anything ), 打不了八极 ‘’ can’t hit with eight poles’’ ( extremely distant or unrelated ). (Contemporary Chinese Dictionary Chinese -English Edition 2002,232)
An allegorical saying is divided into two parts. It is like a riddle: The first part is a metaphor, and the second part is an explanation. There are two types of allegorical sayings: homophonic and figurative. Example of the homophonic type ‘’ the nephew carries a lantern – to light up the uncle’’ (pronounced the same ‘’ as before ‘’ in Chinese); ‘’the monk opens an umbrella – no hair and no sky ‘’ (‘’ no hair ‘’ is pronounced similar to ‘’ lawless ‘’ in Chinese). Examples of the figurative type: ‘’ A mute person takes a dose of bitter medicine- they can’t say it is bitter ‘’; ‘’ Mice go to the street – everybody shouts and beats them.’’ Cheng Aimin (2019.130)

==Language policy==
While vigorously promoting Putonghua, the Chinese government has also promulgated many policies to protect dialect and minority languages. In order to promote Putonghua, China promulgated the Chinese Pinyin Program in 1958. Pinyin (the standard Chinese sound- spelling system) is widely used in Putonghua promotion, international Chinese teaching, foreign exchange and other fields. It has become an important tool for reading Chinese characters, learning Putonghua, training and improving reading and writing ability. With the popularization of modern information technology, pinyin is widely used to input the Chinese characters on computers and mobile phones. Pinyin affects all aspects of social life. In translation, Chinese names of people, places, food, and even some cultural concept with Chinese characteristics (Such as Beijing, pingpang, Shaoling, Gongful) are directly spelled with Pinyin, which is therefore an important standard for translation and a bridge for international exchange. Minglang Zhou: (pp.71-95).

==Conclusion.==
Today, an increasing number of people from other countries now want to learn Chinese language and culture and also many universities from different countries throughout the world offer Chinese language courses because Putonghua is also an open door to a huge job market in all of the countries where Putonghua is the language of commerce like Mainland China, Taiwan and Singapore. Learning Chinese can help to make a better future for everyone. Abundant opportunities for governments and business careers as well as scientific and cultural exchanges await the student of Chinese. The China market is blossoming after decades of global isolation. As China is rapidly becoming a world economic power as it opens its doors to foreign investment expands its infrastructure, those who know Chinese will be valuable to business.

==References==

Cheng Aimin.(2019), ''中国概况'' [Understanding China]. Shanghai Foreign Language Education Press.
Minglang Zhou: Language Policy in the People’s Republic of China (p.71-95), Wendy Abraham: let’s talk Mandarin Chinese: 1,001 real-life phrases and Idioms. Law of the People's Republic of China on the Standard Spoken and Written Chinese Language (Order of the President No.37) Article 10 Putonghua and the standardized Chinese characters shall be used as the basic language in education and teaching in schools and other institutions of education, except where otherwise provided for in laws.
The Contemporary Chinese Dictionary Chinese -English Edition 2002)
===Terms and expressions===

Lingo: 林戈

Lingo: 行话，语言

Putonghua: 普通话

Await student:等待学生

Pinyin: 等待学生

Pinyin: 拼音

Lofty: 崇高

Vernacular: 白话

Swine: 猪

===Questions===
1. Why Putonghua is spoken in United Nations Organization?
2. How many people speak Putonghua in China and around the world?
3 .Why Chinese government is promoted Putonghua among many others languages?
===Answers===
1. Because it is an important means of communication between China and foreign countries.
2. According to ethnologist 70 percent of China’s population had the ability to speak Putonghua, and according to the10 most spoken languages in the world Chinese (and all of its varieties such as Mandarin) is by far the most spoken language across the world with 1.31 billion speakers.
3. Because Putonghua is become an international language and it also facilitate understanding between different ethnic groups in China.