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2026-04-01T14:45:20Z

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User talk:Giray Fidan

2026-03-30T16:26:40Z

Root: Welcome!

'''Welcome to ''UVU Wiki''!'''
We hope you will contribute much and well.
You will probably want to read the [https://www.mediawiki.org/wiki/Special:MyLanguage/Help:Contents help pages].
Again, welcome and have fun! [[User:Root|Root]] ([[User talk:Root|talk]]) 18:26, 30 March 2026 (CEST)

User:Giray Fidan

2026-03-30T16:26:40Z

Root: Creating user page for new user.

Born in 1980 in Ankara, Turkey. Turkish sinologist and translator. Professor and Chair of the Department of Oriental Languages at Ankara HBV University, and Distinguished Visiting Scholar at the Center for World Sinology at Beijing Language and Culture University. His major translations include *The Art of War* (31 printings), *Dream of the Red Chamber* (2 printings), *The Art of War by Guiguzi* (11 printings), as well as Lao She’s *The Story of a Cat City* (7 printings), Hoda’s *A Muslim Funeral*, Lu Yao’s *Ordinary World*, Zhang Wei’s *The Ancient Ship*, Ge Fei’s *The Invisibility Cloak*, A Yi’s *What Should I Do Next?*, and A Lai’s *The Dust Settles*. In 2016, he received the Youth Achievement Award of the China Book Special Contribution Award.

Translated with DeepL.com (free version)

Overview on Chinese Culture Spring 2026

2026-03-30T01:38:14Z

Root: /* Session 2 — Mar 12 — Teacher Introduction */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong 92
* Huang Ruguo (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-30T01:31:41Z

Root: /* Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong 92
* Huang Ruguo (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-30T00:58:09Z

Root: /* Session 4 — Mar 26 */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance 98
* Dina (迪娜·代买克): Panda-Kultur 80
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms 88
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong
* Huang Ruguo (黄如果): Hotpot

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-30T00:57:16Z

Root: /* Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance
* Dina (迪娜·代买克): Panda-Kultur
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 91
* Huang Ziyue (黄梓玥): Spring Festival Couplets 80
* Hu Xinyin (胡馨尹): Mahjong
* Huang Ruguo (黄如果): Hotpot

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-30T00:56:22Z

Root: /* Session 2 — Mar 12 — Teacher Introduction */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance
* Dina (迪娜·代买克): Panda-Kultur
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gao Yang (高扬): Erhu 📤 上传PPT
* Huang Ruguo (黄如果): Hotpot 📤 上传PPT
* Huang Ziyue (黄梓玥): Spring Festival Couplets 📤 上传PPT
* Hu Xinyin (胡馨尹): Mahjong

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

File:02 Culture Spring 2026.pptx

2026-03-30T00:30:49Z

Root:

Overview on Chinese Culture Spring 2026

2026-03-30T00:30:24Z

Root: /* Session 2 — Mar 12 — Teacher Introduction */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance
* Dina (迪娜·代买克): Panda-Kultur
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）

=Session 5 — Mar 30 (Sun 8:00, Room 601 / 4月2日14:30的课改为3月30日（周日）8:00 601教室上)=
* Huang Ruguo (黄如果): Hotpot
* Hu Xinyin (胡馨尹): Mahjong

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Erhu
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Yiyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Huang Yiyue (黄梓玥): Spring Festival Couplets
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

User talk:Huang Ziyue

2026-03-29T10:18:21Z

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User:Huang Ziyue

2026-03-29T10:18:21Z

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I am a college student who loves literature and music. I used to be quiet and fond of drawing. Although I have experienced difficult days in study and life, I have become more rational and calm. I cherish past memories while focusing on growing up. I keep working hard, hoping to live a gentle and free life and become a better version of myself.

Hao Qiu Zhuan/en-wilkinson/Chapter 1

2026-03-28T11:06:16Z

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= Chapter 1: In the Phoenix City, a Chivalrous Heart Pities a Pair of Lovebirds =
''From: Hau Kiou Choaan, or The Pleasing History. Translated by James Wilkinson, edited by Thomas Percy (London, 1761)''

''Note: This text was digitized via OCR from the original 1761 print. Some scan errors may remain -- compare with the [[Hao_Qiu_Zhuan/Chapter_1|modern translation]] and [[Hao_Qiu_Zhuan/zh/Chapter_1|Chinese original]] to verify.''

----

CHAP. I.
IN the city of ''Tah-ming''*, formerly lived a student named ''Tieh-chung-u'', of great endowments of body and mind: for the beauty of his person, which equaled that of the finest woman, he was

*''Tah-ming-foo'' or ''Tai-ming-fou'', as it is written by ''Du Halde'', is a city of the first order, and is south of ''Pe-king'', being in the same province with it. See Pere Du Halde's Description of China, in 2 vols. folio, printed for Cave 1738, which is the translation always referred to in the following notes.
N. B. ''Foo'' or ''fou'' signifies a city.

called ''the handsome Tieh'': yet was his temper no less rough and impetuous than his form was elegant and pleasing:
bold and resolute in resenting affronts, without any regard or awe of his superiors; yet strictly just, humane, generous, and noble, never so happy as when employed in assisting and relieving the distressed.
His father, whose name was ''Tieh-ying'', was a Mandarine of justice: his mother's name was ''Sheh sheh'': his father belonged to one of the tribunals in the palace, but because of the violent temper of his son, confined him at his house in another city*, lest he should involve him in

* 'Tis the custom in China for Mandarines to have their houses in a different place from that where they hold their office. Translator.

any trouble at court. There he lived and kept house, pursuing his studies,
and at proper intervals unbending his
mind with company. When he had at-
tained his sixteenth year, his father and
mother began to think of marrying
their son*. They acquainted him with
it; but he was no way disposed to con-
cur with their intentions: on the con-
trary, he urged that marriage was
not like an acquaintance or friendship,
which could not be quitted on any dislike or disagreement: that whenever
he should incline to marry, he would
take more than common care in his
choice but should hardly think of
it 'till he could meet with a lady possessed of every perfection of mind and
person. These arguments weighed so
deeply
See the note: at the end of the vol, p. 231,
for which purpose he caused him to
take a pledge. 'Tis now four years
since he was betrothed, without ever
fetching home his wife, not having
wherewithal to maintain her. Some
time since the happened to be seen by
a great Mandarine, who fell in love
with her, and would have her for a fe-
cond wife, or concubine, which the fa-
ther and mother would by no means
consent to. This enraged the noble-
man, who contrived many ways to get
her, and at last carryed her off by force.
Wey-fiang-coon was advised of his loss,
and repaired to the court to make his
tics, morality, but a particular regard is had to
their skill in composing in their own language,
and the knowledge of their laws. Similar ex-
aminations and degrees are also appointed for
their military people.
P. Du Halde, vol. 1. p. 376.
com-
of Princes, and how far more desirable
was a life of obscurity. But more par-
ticularly struck with the great resignation of Pé-kan, he was led to reflect
on that duty and obedience he had been
wanting in to his parents. So deeply
was he stung with remorse, that he
passed the night without sleep. At
length he resolved to go and throw
himself at their feet; and to implore
their pardon for that stubbornness of
temper, which had kept him so long
apart from them.
Full of these resolutions he arose in
the morning, and taking with him
only one servant named Siow-tan, left
his house and set out for the court.
He had been now two days on the
road, and so impatient to see his father,
as to neglect almost all repose and re-
freshment, when he found himself
on the approach of night far from
any house of reception for travel-
lers*. At length he came where at
some distance was a large village,
but near were only a few scattered
cottages of very poor people: at one
of these he alighted, and calling, an
old woman came to him: who see-
ing him drest in his student's habit, said
to him, "Siang-coon, or young gentle-
man, I suppose you are come from court
*The inns in China are commonly mean,
being generally four walls made of earth, with-
out plaister or floor, except in the greatest roads
of all, where they are large and handsome: but
it is necessary for travellers to carry their beds
with them (commonly a quilt or two) or they
must lie on a mat. See P. Du Halde, &c.
hither to visit Wey-fiang-coon, or our
young student of this village." He
said he knew no such person. She
enquired what then could bring him
thither. He told her he had lost his road, and intreated her to give him
room in some part of her house to
pass the night. She said he was wel-
come, and that she was only sorry she
could not entertain him as he deserved.
His servant Siow-tan brought in his
bed and other travelling furniture :
and the old woman shewed him a place
for his horse, furnished out a room for
him with clean straw, and brought him
tea.
Tieb-chung-u having refreshed him-
self a little, asked why she was so in-
quisitive at his arrival, and who the
young student was whom she had men-
tioned. "You don't know perhaps, said
she, that this village was not former-
ly called as, as it was at present, Wey-
tswün*, but received that name from
a family that lives here, who were once
great people at court, but are now re-
duced to the meanest condition. But
thank heaven, there is one of the fa-
mily, who altho' poor, understands
letters: he went to court to undergo
his examination †: there he met with
a friend, a learned man, named Han-
yuen,
*Twin in the Chinese language signifies a
village.
Transf.
+ Called by the Chinese Kow-shé. As all civil
offices in China are bestowed according to per-
sonal merit, no wonder that the study of letters
is in the highest esteem, and that the examina-
I
tions
yuen, who conceived a great fondness
for him; and having one only daughter
would give her to him in marriage:
for
tions of students are conducted with the greatest
decorum, solemnity, and exactness. There are
several leffer examinations before the students
are admitted to be examined for the degree of
Siou-tsai (answering to Batchelor of arts in our
universities) the examination for which is
made once in three years in each of the largest
districts of the province before the Mandarines,
who seldom confer it on more than four or five
out of a hundred. —The examinations for the
second degree, or Kiu-gin (answering to Master of
arts or Licentiate in Europe) are also once in three
years at the capital of the whole province, at
which all the Sicou-tfai are obliged to attend :
out of ten thousand of whom perhaps only sixty
are admitted. This degree intitles them to
lower offices: but the highest employments are
sure to be conferred on those who can obtain the
degree of Thin-see (or Doctor) which they are ex-
amined for the year after they have obtained the
former degree (but this they are not obliged to
attend) at Pe-king before the Emperor himself:
who seldom confers this degree on more than
one hundred and fifty out of five or six thousand
candidates. Each of these degrees is conferred
according to their proficiency in history, poli-
tics,
for which purpose he caused him to
take a pledge. 'Tis now four years
since he was betrothed, without ever
fetching home his wife, not having
wherewithal to maintain her. Some
time since she happened to be seen by
a great Mandarine, who fell in love
with her, and would have her for a fe-
cond wife, or concubine, which the fa-
ther and mother would by no means
consent to. This enraged the noble-
man, who contrived many ways to get
her, and at last carryed her off by force.
Wey-fiang-coon was advised of his loss,
and repaired to the court to make his
tics, morality, but a particular regard is had to
their skill in composing in their own language,
and the knowledge of their laws. Similar ex-
aminations and degrees are also appointed for
their military people.
P. Du Halde, vol. 1. p. 376.
com-
I
·
complaint: but not knowing how to
apply for relief, and unable to learn
news of his wife or her relations, all
whom the Mandarine had secured, he
returned home in despair. Since that
time, his mother, fearing he might
make himself away, hath desired the
assistance of her neighbours to prevent
such a misfortune."
While she was yet talking, they heard
a great noise and disturbance in the
freet: they looked out and saw a
crowd of people, and in the midst of
them a young man clad in blue*, who
wept
* The habit of those who have taken the
lowest degree, or Sieou-tfai, is a blue gown, with
a black border round it, and a pewter or silver
bird on the top of their cap.-Those who have
taken the second degree, or Kiu-gin, are distin-
guished
wept and lamented. In the crowd
the old woman saw her husband, whom
she called to her, and informed of their
gueft: he blamed her for having de-
layed to provide a supper for the ftran-
ger, and commanded her to hasten it.
Of this man Tieb-chung-u enquired
whether the student's wife was carried
off by night or by day? He told him,
in the day time. He then asked if
there were none that saw it. He was
answered there were several, but none
that durft open their lips: for who
guished by a gown of a dark colour with a blue
border: the bird in their cap is gold, or copper
gilt.-The first degree, or that of Tfin-see, is al-
so diftinguished by a habit different from the
former, but more particularly by a girdle which
they always wear at their governments, but is
more rich and precious according to the offices
they are advanced to.
P. Du Halde ubi fupra. Semedo's hist. p. 46. &c.
would
would be forward to appear against so
great and powerful a Mandarine?
Here the old woman interrupted, beg-
ging them to talk no more of it, for
that now there was no remedy. Tieb-
chung-u smiled and said, "You peo-
ple of the villages are so faint-
hearted and doubtful! but perhaps you
know not the truth of the story, and all
you have been telling me is a fiction."
"By no means, she replied, nettled at
his affected incredulity; I know it to be
true: a cousin of mine who fells straw
at the court, by great chance was pre-
sent, and saw both the young woman and
also her father and mother carried in-
to the Mandarine's house, which is a
palace of retirement given him by the
Emperor, who hath made it sacred to
every
every body but himself and to whom
he pleafes." "Why did not you advise
the young man of this?" said Tiek-
chung-u. "To what purpose? said the
other it is in vain for him to con-
tend." He then enquired where this
palace stood: she told, him without the
city: but though he should find it, no
one durft look into it. Supper being
ready they ended talking: after which
he called his servant Siow-tan to lay his
bed, being fatigued and sleepy.
In the morning when he had break-
fasted, he ordered his servant to weigh
out five mace * to pay the old woman :
he then took leave of her with many
thanks for her kind treatment: she in
* About 39. 4d. English money. Transf.
return
return asked him pardon for any thing
that was amifs; but particularly in-
treated him not to open his lips about
what she had told him, as well for his
own safety as hers." What is that af-
fair to me? he replied: your kind en-
tertainment of me is all I have to
remember: fear nothing." The old
woman waited on him to the great
road, and there took her leave of
him.
Tieb-chung-u mounted his horse, and
was got two or three lee* on his way,
when he perceived at some distance
before him Wey-fiang-coon stamping and
*A lee is as far as a voice can be heard: ten
of them make a league.
Transf.
N. B. The French missionaries write it ly, or li.
raving
raving by himself, calling out to hea-
ven and complaining of his fate. Tieb-
chung-u no sooner discovered who he
was, but he made all hafte to come
up to him: when dismounting+ from
his horse, he ran to him and clapped
him on the shoulder: "Brother,
said he, yield not up to despair: your
cause of grief may be removed: I'll
ufe my endeavours, and doubt not
but to get your fair mistress refto-
red to you." Surprised at being ac-
cofted in this manner, the student
lifted up his eyes and looked fted-
fastly at him; when seeing him to be a
person of good and genteel afpect, but
utterly unknown to him, he was the
'Tis the custom in China to dismount,
when they falute equals or betters.
Transf.
more
À CHINESE HISTORY. 17
more astonished: nevertheless he said,
"Sir, you seem to be a man of rank
and consideration: I am a poor and mean
person. Till this moment I never had
the honour to see you. I am plunged
in the deepest sorrow and affliction :
but I cannot account for your know-
ledge of it. The words you spoke just
now have so rejoiced me, that I think
they could only come from Heaven.
But, alas! 'tis all in vain! my mif-
fortune is so great that it is not possible
for you, tho' you were an angel*, to af-
ford me relief." Tieb-chung-u laughed,
and said, "This is no more than the
The Chinese believe there are a kind of ta-
telar spirits, or good Genii: in the cities there are
temples to them, in which the Mandarines offer
sacrifice: as alfo to the spirits of the rivers,
mountains, four parts of the world, &c.
P. Semedo's hist. part. 1. chap. 18. p. 86.
- VOL. I.
fting
fting of a bee: if I can't untye
let the world laugh at me.
times there were heroes who could per-
form great atchievements: and why not
now?" Wey-fiang-coon thought there was
something in this more than ordinary:
"Sir, said he, I perceive you are a per-
son of uncommon merit: I ask your
pardon: pray,
how am I to call you?"
"That, replied Tieb-chung-u, it is not
necessary for you to know at present :
but I must beg to be informed of your
own original name *, and where you
would betake yourself, for I have some-
thing to say to you farther." "My name,
said he, is Wey-phey, and I should go find
out some way to end my life, but for
this knot,
In former
* The other was his complimental name,
bestowed on account of his profession. Transf.
my
my mother, who is a widow, and de-
pends on me alone for her support.
For her fake I endure my misfortunes,
and have sought all means of relief :
none offers now but to write a petition
and carry it to court, there to present
myself with it to some Mandarine: if
he refuses to accept it I will go to
another; and so on 'till I find one that
will: if none will do me justice, I can
then but dye: I shall dye in the face of
the world, and not meanly in secret."
And taking out his petition, he gave it
to Tieb-chung-u; who read it, and found
the wife's father to be a Doctor of law*,
* The second degree, called Kiu-gin, per-
haps answers better to the degree of Master of
arts or Licentiate in the European universities:
however, as it is rather a civil diftinétion, Defter
of law seems to convey a more adequate idea.
See note above.
See P. Du Halde, vol. 1. p. 377.
of
of the second degree. The Mandarine
alfo, who had committed the violence,
was not unknown to him.
"Very
well, said he, this petition is right, and
must be presented to the Emperor; he
has power to apply to any other audi-
ence beside will be to no purpose: nor
would it avail to carry it to the Em-
peror yourself. Intruft it to my care,
perhaps I may have an opportunity to
serve you." Wey-phey bowed down and
embraced his feet. "Sir, said he, the joy
your compassion excites in my heart is
like the springing forth of tender leaves
from the withered branches of a tree.
If
you do me this favour in procuring
my petition to be seen, 'tis not sitting
I stay here: let me rather follow your
horfe's feet and wait on you to court."
"Should
༈
"Should you go with me, answered
Tieb-chung-u, it might alarm the world:
it is much better for you to return
to your village: within ten days ex-
pect to hear from me." "Sir and
brother, said Wey-phey, this favour you
do me is as great as the heaven and
the earth." He then shed some tears,
and made him a profound reverence.
Tieb-chung-u exhorting him to be com-
forted, took the petition and put it
in his sleeve; then bidding him adieu,
mounted his horfe and put forward.
Wey-phey stood amazed and motionless,
with his eyes fixed on Tieb-chung-u 'till
he was out of sight, not knowing
whether what had happened was real
or a dream.
CHA
every body but himself and to whom
he pleafes." "Why did not you advise
the young man of this?" said Tiek-
chung-u. "To what purpose? said the
other it is in vain for him to con-
tend." He then enquired where this
palace stood: she told, him without the
city: but though he should find it, no
one durft look into it. Supper being
ready they ended talking: after which
he called his servant Siow-tan to lay his
bed, being fatigued and sleepy.
In the morning when he had break-
fasted, he ordered his servant to weigh
out five mace
* to pay the old woman:
he then took leave of her with many
thanks for her kind treatment: she in
* About 39. 4d. English money. Transf.
return
return afked him pardon for
any thing
that was amifs; but particularly in-
treated him not to open his lips about
what she had told him, as well for his
own safety as hers." What is that af
fair to me? he replied: your kind en-
tertainment of me is all I have to
remember: fear nothing." The old
woman waited on him to the great
road, and there took her leave of
him.
Tieb-chung-u mounted his horfe, and
was got two or three lee* on his way,
when he perceived at some distance.
before him Wey-fiang-coon stamping and
A lee is as far as a voice can be heard: ten
of them make a league.
Transf.
N. B. The French missionaries write it ly, or li.
raving
raving by himself, calling out to hea-
ven and complaining of his fate. Tieb-
chung-u no sooner discovered who he
was, but he made all hafte to come
up to him: when dismounting+ from
his horse, he ran to him and clapped
him on the shoulder: "Brother,
said he, yield not up to despair: your
cause of grief may be removed: I'll
ufe my endeavours, and doubt not
but to get your fair mistress refto-
red to you." Surprised at being ac-
cofted in this manner, the student
lifted up his eyes and looked sted-
fastly at him; when seeing him to be a
person of good and genteel afpect, but
utterly unknown to him, he was the
'Tis the custom in China to dismount,
when they falute equals or betters.
Transf.
more
Á CHINESE HISTORY. 17
nevertheless he said,
more astonished
"Sir, you seem to be a man of rank
and consideration: I am a poor and mean
person. Till this moment I never had
the honour to see you. I am plunged
in the deepest sorrow and affliction :
but I cannot account for your know
ledge of it. The words you spoke just
now have so rejoiced me, that I think
they could only come from Heaven.
But, alas! 'tis all in vain! my mif-
fortune is so great that it is not possible
for you,
tho' you were an angel*, to af-
ford me relief." Tieb-chung-u laughed,
and said, "This is no more than the
* The Chinese believe there are a kind of tu-
telar spirits, or good Genii: in the cities there are
temples to them, in which the Mandarines offer
sacrifice as alfo to the spirits of the rivers,
mountains, four parts of the world, &c.
P. Semedo's hist. part. 1. chap. 18.
- VOL. I.
P. 86.
fting
с
fting of a bee: if I can't
untye
let the world laugh at me.
times there were heroes who could per-
form great atchievements: and why not
now?" Wey-fiang-coon thought there was
something in this more than ordinary:
"Sir, said he, I perceive you are a per-
son of uncommon merit: I afk your
pardon: pray, how am I to call you?"
That, replied Tieb-chung-u, it is not
necessary for you to know at present :
but I must beg to be informed of your
own original name *, and where you
would betake yourself, for I have some-
thing to say to you farther." "My name,
said he, is Wey-phey, and I should go find
out some way to end my life, but for
this knot,
In former
*The other was his complimental name,
bestowed on account of his profession. Transf.
my
my mother, who is a widow, and de-
pends on me alone for her support.
For her fake I endure my
my misfortunes,
and have sought all means of relief:
none offers now but to write a petition
and carry it to court, there to present
myself with it to some Mandarine: if
he refuses to accept it I will go to
another; and so on 'till I find one that
will: if none will do me justice, I can
then but dye: I shall dye in the face of
the world, and not meanly in secret."
And taking out his petition, he gave it
to Tieb-chung-u; who read it, and found
the wife's father to be a Doctor of law*,
*The second degree, called Kiu-gin, per-
haps answers better to the degree of Mafter of
arts or Licentiate in the European universities:
however, as it is rather a civil diftin&tion, Doctor
of law seems to convey a more adequate idea.
See note above.
See P. Du Halde, vol. 1. p. 377-
ઘઉં
of the second degree. The Mandarine
alfo, who had committed the violence,
was not unknown to him. "Very
well, said he, this petition is right, and
must be presented to the Emperor; he
has power to apply to any other audi-
ence beside will be to no purpose: nor
would it avail to carry it to the Em-
peror yourself. Intruft it to my care,
perhaps I may have an opportunity to
serve you." Wey-phey bowed down and
embraced his feet. "Sir, said he, the joy
your compassion excites in my heart is
like the springing forth of tender leaves
from the withered branches of a tree.
If
you
do me this favour in procuring
my petition to be seen, 'tis not sitting
I stay here: let me rather follow your
horfe's feet and wait on you to court.
"Should
"Should you go with me, answered
Tieb-chung-u, it might alarm the world:
it is much better for you to return
to your village: within ten days ex-
pect to hear from me." "Sir and
brother, said Wey-phey, this favour you
do me is as great as the heaven and
the earth." He then shed some tears,
and made him a profound reverence.
Tieb-chung-u exhorting him to be com-
forted, took the petition and put it
in his sleeve; then bidding him adieu,
mounted his horfe and put forward.
Wey-phey stood amazed and motionless,
with his eyes fixed on Tieb-chung-u 'till
he was out of sight, not knowing
whether what had happened was real
or a dream.
СНАР.
CHA P. II.
I
HE village of Wey-tfwün was di-
ftant fifty lee from the court,
where Tieb-chung-u arrived in two hours:
he haftened to his father's house: he
found every thing still and quiet before
the doors; not a person to be seen. He
alighted off his horfe, and went into
the hall of audience; but neither was
one of the clerks, or any one else, to be
met with there: he would have pro-
ceeded farther, but he found the doors
fast shut. He knocked and called; the
servants within knew his voice: they
unlocked the door, and meeting their
young master cryed out! "Bad news!
things go very ill!" He afked them,
why? Our master, replied they, is caft
Viz, five leagues.
into
into prison by the Emperor's order:
you are now arrived in good time:
pray go immediately to our lady your
mother's apartment, and advise with
her." Tieb-chung-u was struck speech-
less with surprize and grief, and suf-
fered himself to be led to the door of
her apartment. His mother, who was
called She-fu-jen, or my Lady Sheb,
perceiving him, went and caught hold
of his sleeve, crying, " “My son, you
are arrived in good time. Your fa-
ther has discharged the part of a good
man, with the most unwearied perfe-
verance: eager to redress grievances,
he would be presenting petitions, from
morning to night*: there has hap-
* The Chinese idiom is, "your father to-day
"would be a good man, to-morrow would be
"a good man; he would be presenting peti-
"tions," &c.
pened
pened an affair of great consequence;
I know not whether he is dead or
alive he is in prison." Tieb-chung-u
fell into a violent tranfport of grief::
but observing, how deeply his mother
was affected, he fell upon his knees be-
fore her and said: "Mother, be not
caft down, you must not give yourself
up to affliction: though the affair bet
as great as the heavens are high, we
must not yield to despair: we must con-
fult together: you must tell me plainly
all that has happened." She bade him
rife and take a chair, then told him.
as follows: "Some days ago, as your
father was returning from the Empe-
ror's palace, he was stopped in his way
home by an old man and his wife, who
had their hair loofe and disordered,
their faces bruised and bloody, and
their
#
their cloaths rent: they threw them-
Ain felves before his horfe's feet, crying out
for justice. Your father afked them who
they were, and by whom they were
injured. I am a Doctor of law, said the
old man, of the second degree, my name
iş Han-yuen: I have a daughter, whom
I have long promised in marriage:
but a great Mandarine, named Tab-
quay, hearing of her, and that she was
something handsome, ordered people.
to come, and propose terms of mar-
riage, for her to be a second wife, or
concubine to him: I answered, that
it
*The Chinese laws allow but one, who can
properly be called a wife. Yet they may have
several second wives or concubines, whofe
situation is not at all difreputable but they
are greatly dependent on the first, who alone is
mistress of the house. Their children are deem-
ed to belong to the true wife, and inherit equal-
ly with her own. P. Du Halde, vol. 1. p. 304
it was impossible for me to consent,
for I had already engaged her to ano-
ther: if he has a mind to take my life,
I am content; but I can never yield
to give him my daughter. Tab-quay
was much enraged: "What! said he,
have I made so reasonable a proposal,
and am to see it rejected! I'll try whe-
ther force can be more fuccessful." Ac-
cordingly he sent people to carry her
off; which endeavouring to prevent,
they abused both of us, in the manner
you see. Your father was much af-
fected with his tale, and passionately
moved to procure them redress: hur-
rying home therefore, he instantly
drew up a petition to present to the
Emperor. But alas, proceeded the
Lady Sheb, your father, notwithstand-
ing his great judgement, was at that
time
time overseen, not to secure the two old
people for witnesses: for the Empe-
ror, when he had read his petition,
demanded what evidence he had to
support it. Upon which he went to
feek them, but in vain for Tab-quay
had immediate advice of the affair, and
instantly secreted them. The awe of
his power drew almost all the Manda-
rines of the court over to his party.
And he in his turn delivered in a peti-
tion, wherein he charged your father,
with abusing the Emperor's considence,
and possessing him with falsehoods
against his faithful servants. Upon
this your father's office was taken
away, and he was sent to prison. And
though some of the Mandarines expref-
fed an inclination to assist him, it was to
no purpose, as he had no witnesses to
produce
produce in his favour and if he can
procure none, he must suffer death."
When she had finished her relation,
the countenance of Tieb-chung-u cleared
up: "And is Han-yuen, said he, the
occasion of all this? this is an affair of
trifling consequence; Han-yuen and his
daughter every body knows, and the
feizing them in their house is known to
many. Be no longer dejected, Madam,
but take comfort; they cannot be loft.
Robbers and thieves, though they be fled
into other provinces, are to be found*,and
why.
*It is very difficult for robbers to escape in
China for upon all the great roads at every
half league are centries stationed, and the exact
notice that the Mandarines have of every thing
that paffes in their respective wards and districts,
makes it very rare that they can lie concealed.
One of the Missionaries has said, that a criminal
cannot
why not those that are about the court:
fear not then but we shall find these
peo-
ple: nay I myself know where they are
concealed." "How! said Sheb-fu-jen,
is it possible? do you speak certainly
true?""Can a son, said Tieb-chung-u
speak untruths before his mother? that
can never be." The Lady Sheh at this
was greatly rejoiced, and said, " If this
news is true, reft a little and refresh
yourself: then haften to see your father
in prison, and take away his sorrow."
Upon this she ordered a table to be
spread for him to eat; which having
done, and changed his cloaths, she
called for a servant to attend him.
"Madam, said Tieb-ckung u, there is
cannot find a hiding place in all that vast em-
pire. See P. Semedo, p. 2. P. Du Halde,
vol. 1. p. 266. & paffim.
no
1.
no occasion for such hafte; I will first
draw up a petition for my father to
shew the Emperor." When he had
finished it, he asked his mother for his
father's chop or seal: and taking that,
together with the petition of Wey-phey,
he put them both in his sleeve, and
bade the servant shew him the way to
his father.
The Mandarine, that was gover-
nor of the prison, knew Tieb-chung-u,
and received him with great courtesy :
"Sir, said he, the Mandarine your
father is within; pray be pleased to go
to him; pardon me that I don't wait
on you: you have doubtless something
to impart to him in private." Tieb-
chung-u returned his civilities in a pro-
per
per manner, and went in. He found
his father sitting, without irons, in
great composure. He immediately
ran and bowed down four times at his
feet; afking pardon for not coming
sooner to assist him in his troubles:
that he deserved not the name of a son,
for being absent when he might have
performed him services, or at least have
known his commands. Tieb-u-sheb*
raised himself from his chair: "I am,
said he, in the place where my duty
requires me to be: why are you not at
home minding your studies and doing
your duty." Sir, said Tieb-chung-u, if
if it is your duty to be here, it is mine
alfo to be here to wait upon you.".
* The name he received from his office.
Transf.
His
His father paused: at length he an
fwered, "You are in the right: you do
your duty: but we live in times, when
the Mandarines of the court are cor-
rupted, and duty has no longer any re-
gard paid to it: from a just sense of
mine, I presented my petition, putting
to the hazard whether it would be
heard or not: and now, whether I shall
live or die, is in the hand of the Em-
peror: your coming here will avail me
nothing." "Sir, replied Tieb chung-u,
I am made acquainted with the cause
of your confinement: but why do you
sit down quietly under it: why do
not you continue to feek out the old
man and his wife; and without truft-
ing to others, petition for leave to do
it in your own person." "That, said
Tieb-
Tieb-u-sheb, it would not be difficult to
obtain but I fear, if I should apply
for such licence, and be still unfuc-
cessful, it will only aggravate my
crime, and increase my disgrace." “I
have notice of these three people, said
the son, but without an express or-
der from the Emperor, they cannot
be apprehended." " His order
was issued out at the firft, replied
the father, but they could not be
found: my friends inquired, but could
learn no news of them. And that you,
who are but just arrived, should know
any thing of them, is very unlikely.
'Tis all a jeft! you are but a boy, and
having heard something of it, from
people's discourse, only love to hear
yourself talk. Go! you are a simple-
ton.'
ton." "Sir, answered Tieb-chung-u, this
is a matter which regards your life: is
it possible for a son to jeft upon such
an occasion?" Then looking round to
see, that nobody was within hearing, he
related all that had happened on his
journey, both the difcourse he had had
with the old woman, and with Wey-phey,
whofe petition he shewed him. At this
Tieb-u-sheb became joyful, and said, “ If
it be so, the Emperor will see that I am
blameless: there will then be no danger of
my suffering death. But is it not to be
feared, that this Tab quay
has poisoned,
૮
with these peo-
or otherwise made away
ple?" Tieb-chung-u answered, "The
palace where he resides, is the Empe-
ror's gift, which no one can enter : your
adversary is a wicked man, and of very
mean
mean understanding; wholly addicted
to pleasure, and immerfed in luxu-
ry, he thinks of nothing farther:
imagining himself secure, he nei
ther suspects any danger, nor has con-
trivance enough to prevent it: be not
therefore, Sir, caft down or sorrow-
ful." "Son, said the Mandarine Tieb,
you say well go home now, and
fetch some paper and my seal, that I
may draw up a petition to the Empe-
ror." "That is already done, said his
son, I have here brought it with me:
if you like it, let it go : if not, please to
draw it up afresh with greater elegance
and accuracy." He read it, and pro-
nounced it was very well, and required.
no alteration: then putting his seal to
it, he folded it up, and gave it to the
governor of the prison, desiring it
might
might be delivered to a Mandarine of
the Emperor's audience chamber, called
Tong-ching-fu, whose business it is to
receive petitions.
CHA P. III.
THE
HE Mandarine Tieb-u-sheb, was
not two days longer in prison, be-
fore the Emperor sent him a private an-
fwer to his petition. When every body
was retired, he opened it, and found
an order to go, and apprehend the
persons in question: at this he great-
ly rejoiced, and making an offering
of fire, prayed for the Emperor †.
*This is CHA P. II. in the Translator's ma-
nufcript.
+ The Editor could meet with no account of
this custom; which yet should seem to be the
asual one on thefe occasions.
Then
Then he took the letter, and fold-
ed it up again and proposed to his
son, to set out both of them upon
the search. "Pardon me, Sir, said
Tieb-chung-u, that must not be. It will
excite suspicion: somebody will ac-
quaint Tab-quay of your being abroad,
and we shall be disappointed. Let me
rather go privately, and when I have
broke open the gates, and found the
three persons, do you be ready, mount
your horfe, and bring with you the
Emperor's order, openly proclaiming
it to be a power to apprehend them."
To this his father afsented.
By this time the Mandarine of the
prison came, and inquired what news?
for he saw, that they had been making
an offering of fire. Tieb-u-sheb injoin-
ing
ing him secrecy, informed him of the
private order he had received. He
then said to his son, "Now go, but be
very careful." The youth according-
ly withdrew, and went to tell his mo-
ther all that had happened. He then
afked her for his brazen mace, weigh-
ing twenty catty *: which although
so heavy, he had been able to ma-
nage at eleven or twelve years old, but
his parents had taken it from him, left
he should do mischief with it. His mo
ther was fuprized at his demand, and
*The catty or catte is the Chinese pound,
and contains sixteen tael: as the tael contains
ten mace:-sixteen catte make twenty pounds
Portugueze weight, sixteen ounces to the pound.
Twenty catty are therefore equivalent to twenty
five European pounds.
See P. Semedo's hist. part 1. chap. 2. p. 52.
N. B. Maces are still in use among the guards
that attend a Vice-roy, &c. when he goes in
procession. P. Du Halde, vol. 1. p. 253.
said,
said, "Your father ordered me to lay it
up, and never give it you: why do you
afk for it? "I am going,
"I am going, replied
Tieb-chung-u, to the den of a tiger: if
I have not that with me, how shall I
desend myself?" When he had re-
ceived it, he asked for wine, and drank
till he made his heart glad: after
which, he put on his soldier's habit,
and his other dress over it; then or-
dered a white horfe to be got ready,
which he mounted, commanding twenty
servants of the house to come after him
at a distance, but Siow tan to follow
him near.
This done, he rode softly on, 'till he
was got without the gate of the city :
then he set out full speed, till he came
to a splendid palace. Here he stopped
and
and alighted. Walking about a little, he
came to a court, with three gates, very
strong and lofty, and curiously wrought:
over the middlemoft of thefe, were
infcribed the three characters, Yang-
bien tang, or the name of the pa-
lace. These gates he perceived to be
too strong, and too closely shut, for
him poffibly to open them: but he ima-
gined there must be another entrance
besides this to so magnificent a build-
ing and looking round, in an alley he
discovered a little gate painted red;
over which was this infcription:
BY THE EMPEROR'S ORDER, NO ONE
CAN SO MUCH AS LOOK IN HERE, UN-
DER PAIN OF SEVERE PUNISHMENT.
Tieb-chung-u finding a crack in the
door, peeped through, and saw a great
many servants waiting within, and
whif-
whispering to one another. He then
withdrew as softly as he could to
his servant and taking off his upper
coat, which covered his soldier's dress,
and grafping at the same time his arms,
mounted his horfe; appearing with all
the glory of an hero, or rather an
angel*, in the beauty and gracefulness
of his person, and brightness of his
arms.
"Go now, said he to Siow-tan,
and acquaint the servants that are
behind to come up: afterwards you
shall go to the great Mandarine
your master in the prison, and desire
i. e. Genius or spirit. See not. p. 17.
Altho' the Chinese must differ considerably from
us in their notion of spirits, the Translator hath
every where used the word angel and as it is
only employed in figurative allusion, the Editor
hath ventured to retain it.
him
him to come presently." Then riding
up to the red gate, and there dif-
mounting, he knocked, and called out,
saying, "I come here by the Empe-
ror's order, and must speak with the
Mandarine Tab-quay; acquaint him
with it immediately." The servants
answered roughly, "Our master is
not here, he is at his palace in
the city." " 'Tis false, said he, he
is here in the house: ye slaves, do
ye mean to oppofe the commands
of the Emperor?" They stood silent.
Open the door, proceeded he, with-
out delay." One of the servants an-
fwered, "As our master is not here,
who dares open the door? And if it
were open, who dares enter, in de-
fiance of the Emperor's order to the
contrary?" Tieb-chung-u in a rage an-
fwered,
swered, “ I have the Emperor's order;
if you don't open the door, I shall
open it myself." Then lifting up his
foot against the gate, and striking the
lock with his brazen mace, at one
blow he burst it open; this done, he
entered, notwithstanding all the re-
fiftance of the Mandarine's people,
Upon this, some of them ran to ac-
quaint their master, who was em-
ployed in examining and punishing
the old people, each of them apart,
for refusing him their daughter: re-
monftrating, that it was in his power
to make them amends; and that as
they were poor, it was foolish obstinacy
not to comply with his desires.
as they were, they replied, they could
not consent to things so unreasonable.
"I am a Doctor of the law, said the
old
Poor
old man, though of the second degree,
and of no mean extraction; and had
rather live in indigence, than act so un-
worthily: your riches will have no ef-
fect upon me." Tab-quay grew out-
rageous at this, and commanded him
to be stripped naked, and bound, in
order to be whipped. At this inftant
four or five of his people came running
in, who cried out," Bad news! a very
bad affair has happened!" He inquired
what. They told him, a very bold
young man had forced open the door,
under pretence of the Emperor's order.
By this time, Tieb-chung-u was ad-
vanced as far as the great hall: at which
Tab-quay was greatly surprized, and
was going to hide himself: but the
other came too suddenly upon him.
66 Ching-
"Ching-leao, your servant Sir, said
the youth as he came forward: I
am come here by the Emperor's order,
to speak with you: why are you denied
to me?"
"If you have such an or-
der, said the other, why did not you
advise me of it before-hand, instead of
forcing your way in, with so much
noise, impertinence, and infult?" Tieb.
chung-u answered, that his order was
private, and admitted of no previous
notice. Then advancing, with one
hand he seized him, and with the other
his sword: asking him at the fame
time, if the Emperor did not give
this, for a house of retirement and
pleasure, and not for a place to ad-
minifter public justice: and if so,
why was that person stripped naked,
and
and bound? "That man, said he,
is my servant, and neither public
justice, nor the Emperor, are con-
cerned in what I do to him."
“ I am
not his servant, cry'd the old man, I
am a Doctor of law, and independent
of him."
"If you are a Doctor, said
Tieb-chung-u, how came you to be chaf-
tifed here in this manner? what is
your name?" He replied,
"Han-
yuen." "If your name is Han-yuen,
when the Emperor's order came out
for your appearance, why did you
conceal yourself?" Then looking
back, he gave a signal to Siow-tan to
call in his servants: "Here, said he
to them, take that old man into cufto-
dy, he is a person under cognizance of
the Emperor's tribunal." Tiek-chung-u
then
then renewed his queftion, why he
came there?" I was forced here, an-
fwered he, on account of my daughter:
and had no more power to refift, than a
kid has to withstand a tiger.*
If you
had not come as you did, I know not
whether I should have been alive by
this time." He then asked him, "Is
your daughter here, or your wife?"
he answered, "My wife is in an ad-
joining room; my daughter alfo is
within: she every day persists in her re-
fufal of Tab-quay, and would rather die
* The tiger is almost the only beaft of prey
known in China: but this beaft is exceedingly
fierce and dreadful, often committing terrible
ravages. See L'Embassade, &c. par Nieuhoff,
part 2d. p. 97. Kitcheri Chin. p, 52.
This animal seems to furnish out the imagery
of the Chinese, as conftantly as the lion does
that of Homer.
by
by her own hands than submit: so that
I know not, whether he be dead or
alive." Tieb-chung-u at this was deeply
affected, and sent his people instantly
to secure the mother and daughter.
This alarmed Tab-quay, who began to
bluster: "How dare you, said he, vio-
late this place, by breaking open the
doors, and laying hands on the owner.
If I have done amifs, you ought to pro-
duce the Emperor's order: without it,
you are guilty of an unpardonable out-
rage." This said, he endeavoured,
but in vain, to force away his hand.
He then called out to his people, to
come and assist him: but Tieh-chung-u
bade them it do at their peril : "Who
will dare to offer violence to me, who
act under the Emperor's authority?
who
49
who will lay hands on me?" So saying,
he took their master by the girdle, and
swung him round, beating down the
people, that came to his assistance:
until he cried out, "Forbear, forbear;
dispute with him no longer."
CHA P. IV.
IT
T happened, that at this juncture
arrived several great Mandarines
of Tab-quay's acquaintance, and seeing
him in this situation, trembling like
a mouse in the paws of a cat,
they said to Tieb-chung-u, "This
Mandarine is of great rank, and if he
has ofsended, you must not treat
him so as to violate his dignity and
honour but let others, or some
of us, know the cause of this dif
ference,
29
ference, that matters may be com-
pofed between you.' This man,
replied the youth, has deceived the
Emperor with false teftimony, and is
guilty of the greatest crimes: what
dignity then, what honour is to be re-
garded?" "If it be so, replied the
Mandarines, the Emperor ought to be
informed of it; that he may punish
them, as he shall think proper: but it
becomes not you to treat him thus.”
"You say well, said Tieb-chung-u, but
being all alone, when I entered the
house, if I had not secured him, I
should have met with ill treatment.'
"You are very brave and valiant, said
the Mandarines; pray did you come hi-
ther to-day, in order to revenge any
former quarrel; or to asist thefe old
people ?"
people?" "For neither of these rea-
sons, answered he, but by a private
order of the Emperor, to apprehend
them as persons concealed in this
house."
Why does not that order
appear? said they, read it to us.”
He replied, "You shall see it pre-
sently."
Tab-quay perceiving so many of his
acquaintance near him, began to re-
fume courage; "Do not regard him,
he cried out; there is no truth in
what he says: he is no officer under the
Emperor he is no way impowered
to execute his orders: he is no Manda-
rine of justice. He is only come with
thefe pretences, to carry off Han-yuen
his friend in a lawless manner, to-
gether
gether with his wife, and daughter."
"If
you have not the Emperor's or-
der, said the others turning to Tieb-
chung-u, your coming hither to affront
this great Mandarine, and thus to vio-
late his honour and dignity, is a crime
of the deepest dye. Feats of this kind
might have been more safely performed
in some distant village: there you might
have appeared a valiant fellow. But
here, so nigh the city, and limits of the
court, to affront a Nobleman, and
thus to disgrace his family and rank, is
an unpardonable offence: altho' you
had wings, you could not escape. But
we must send to the city, for the Man-
darines of justice." "That is right,
said Tieb-chung-u, let them be called."
They were accordingly sent for.
Presently
•
Presently arrived the Che-foo, and
soon after him, the Che-bien*. The
Mandarines related to them, what had
happened. "We know not, said those
Magistrates, on which side lies the
truth: if there is the Emperor's order,
it must be read." Then the Che-bien
commanded a place for a tribunal to
to be prepared, and when it was ready,
the order to be produced. Before an-
fwer could be made, notice was given
that Tieb-u-sheb was arrived. Tab-quay
and all the company were amazed :
*In all great cities there is a superior Manda-
rine or Governor, stiled Che-foo, who is of the
fourth order of Mandarines. There are besides,
one or more inferior Magistrates, with the title
of Che-hien: whofe jurifdiction is notwithstand-
ing often of great extent: these are Manda-
rines of the feventh order.
See P. Du Halde, vol. 1. pag. 2. pag. 251, &c.
"This
and bound?
"That man, said he,
is my servant, and neither public
justice, nor the Emperor, are con-
cerned in what I do to him."
"I am
not his servant, cry'd the old man, I
am a Doctor of law, and independent
of him." "If you are a Doctor, said
Tieb-chung-u, how came you to be chaf-
tifed here in this manner? what is
your name?" He replied,
"Han-
juen." "If your name is Han-yuen,
when the Emperor's order came out
for your appearance, why did you
conceal yourself?" Then looking
back, he gave a signal to Siow-tan to
call in his servants: "Here, said he
to them, take that old man into custo-
dy, he is a person under cognizance of
the Emperor's tribunal." Tiek-chung-u
then
then renewed his question, why he
came there?" I was forced here, an-
fwered he, on account of my daughter:
and had no more power to refift, than a
kid has to withstand a tiger. * If you
had not come as you did, I know not
whether I should have been alive by
this time." He then asked him, “ Is
your daughter here, or your wife ?"
he answered, "My wife is in an ad-
joining room; my daughter alfo is
within: she every day persists in her re-
fufal of Tab-quay, and would rather die
*The tiger is almoft the only beaft of prey
known in China: but this beaft is exceedingly
fierce and dreadful, often committing terrible
ravages. See L'Embassade, &c. par Nieuhoff,
part 2d. P. 97. Kircheri Chin. p, 52.
This animal seems to furnish out the imagery
of the Chinese, as conftantly as the lion does
that of Homer.
by
by her own hands than submit: so that
I know not, whether he be dead or
alive." Tieb-chung-u at this was deeply
affected, and sent his people instantly
to secure the mother and daughter.
This alarmed Tab-quay, who began to
bluster: "How dare you, said he, vio-
late this place, by breaking open the
doors, and laying hands on the owner.
If I have done amifs, you ought to pro-
duce the Emperor's order without it,
you are guilty of an unpardonable out-
rage." This said, he endeavoured,
but in vain, to force away his hand.
He then called out to his people, to
come and assist him: but Tieb-chung-u
bade them it do at their peril : " Who
will dare to offer violence to me, who
act under the Emperor's authority?
who
who will lay hands on me?" So saying,
he took their master by the girdle, and
swung him round, beating down the
people, that came to his assistance:
until he cried out, "Forbear, forbear;
dispute with him no longer."
CHA P. IV.
IT
T happened, that at this juncture
arrived several great Mandarines
of Tab-quay's acquaintance, and seeing
him in this situation, trembling like
a mouse in the paws of a cat,
they said to Tieb-chung-u, "This
Mandarine is of great rank, and if he
has ofsended, you must not treat
him so as to violate his dignity and
honour : but let others, or some
of us, know the cause of this dif
ference,
ference, that matters may be com-
posed between you.” "This man,
replied the youth, has deceived the
Emperor with false teftimony, and is
guilty of the greatest crimes: what
dignity then, what honour is to be re-
garded ?"
"If it be so, replied the
Mandarines, the Emperor ought to be
informed of it; that he may punish
them, as he shall think proper: but it
becomes not you to treat him thus."
You say well, said Tieb-chung-u, but
being all alone, when I entered the
house, if I had not secured him, I
should have met with ill treatment.
"You are very brave and valiant, said
the Mandarines; pray did you come hi-
ther to-day, in order to revenge any
former quarrel; or to asist thefe old
people ?"
people?" "For neither of these rea-
sons, answered he, but by a private
order of the Emperor, to apprehend
them as persons concealed in this
house." "Why does not that order
appear? said they, read it to us."
He replied, "You shall see it pre-
sently."
Tab-quay perceiving so many of his
acquaintance near him, began to re-
fume courage; "Do not regard him,
he cried out; there is no truth in
what he says: he is no officer under the
Emperor he is no way impowered
to execute his orders: he is no Manda-
rine of justice. He is only come with
these pretences, to carry off Han-yuen
his friend in a lawless manner, to-
gether
gether with his wife, and daughter.'
"If you have not the Emperor's or-
der, said the others turning to Tieb-
chung-u, your coming hither to affront
this great Mandarine, and thus to vio-
late his honour and dignity, is a crime
of the deepest dye. Feats of this kind
might have been more safely performed
in some distant village: there you might
have appeared a valiant fellow. But
here, so nigh the city, and limits of the
court, to affront a Nobleman, and
thus to disgrace his family and rank, is
an unpardonable offence: altho' you
had wings, you could not escape. But
we must send to the city, for the Man-
darines of justice." "That is right,
said Tieb-chung-u, let them be called."
They were accordingly sent for.
Presently
Presently arrived the Che-foo, and
soon after him, the Che-bien*. The
Mandarines related to them, what had
happened. "We know not, said thofe
Magistrates, on which side lies the
truth: if there is the Emperor's order,
it must be read." Then the Che-bien
commanded a place for a tribunal to
to be prepared, and when it was ready,
the order to be produced. Before an-
fwer could be made, notice was given
that Tieb-u-sheb was arrived. Tab-quay
and all the company were amazed:
* In all great cities there is a superior Manda-
rine or Governor, stiled Che-foo, who is of the
fourth order of Mandarines. There are besides,
one or more inferior Magistrates, with the title
of Che-bien: whose jurisdiction is notwithstand-
ing often of great extent: these are Manda-
rines of the feventh order.
See P. Du Halde, vol. 1. pag. 2. pag. 251, &c.
"This
54 A CHINESE HISTORY.
"This man, said they, is under clofe
confinement: how came he here?"
Here Tieb-u-sheb entered, holding be
fore him the Emperor's order rolled in
yellow*. His son cried out, "Shew
respect to the Emperor's order." On
this, they all knelt down. Tieb-u-
heb seeing so
many Mandarines pre-
sent, said, " This order I am com-
miffioned to read; but my eyes being
weak, Sir, said he, addressing himself
to the Che-foo, be pleased to read it.”
The Che-foo took the order, and read
as follows.
"This order requires Tieb-u sheb to
06
go to the house of Tab-quay, and to
* Yellow is the imperial colour; never worn
but by the Emperor, or employed but when he
is immediately concerned. P. Du Halde, &c.
"take
"take into cuftody, Han-yuen, his wife,
"and his daughter: which three per-
"sons, wherefoever concealed, Tieb-u-
sheb is hereby impowered to make
"search after, and to secure."
"This order shall continue in force
"for three days."
When he had done, Tieb-u-sheh, and
all the company, made their profound
reverence, and rofe up. The great
Mandarines of Tab-quay's acquaintance
departed in silence: leaving only the
two Mandarines of the city with them.
"These three persons, said Tieb-u-
sheb to the Che-bien, are the Emperor's
prisoners to your cuftody commit
Ma-
them, while I go to
Ma
jefty of it, and know his farther plea-
sure." Han-yuen paid the most profound
respect to Tieb-u-sheb, and acknowledged
that himself, his wife, and daughter,
owed their lives to his great piety and
justice: but he told them, they must
thank the Emperor alone, for their
preservation and safety; then turning
to the Che-foo, he said, "I have com-
mitted these persons to the care of the
Che-bien, in order to carry them to a
superior tribunal: but as Tab-quay is a
great Mandarine, and of grave and
respectable character, you, Sir, are
desired to attend him alone to the
same audience." Then Tieb-u-sheb,
attended by his son, returned back to
prison, to await the Emperor's further
order.
TT
Of
He then drew up a petition, to ac-
quaint his Majesty of their whole pro-
ceedings which he graciously received,
and returned for answer, "You have
done well, and have conducted your
felf through this whole business like
a true Mandarine of justice: when the
affair is ended you shall be promoted
to a higher dignity." Orders were
then issued out to release him from
prison.
Tab quay in the mean time was not
idle: he offered presents to the Man-
darines of the tribunal: but none of
them durft accept any. The depofi-
tions of the injured parties lay too
strongly against him; and proved be-
yond all doubt, the forcible seizure
hey had under and all the other
ill
ill ufage they had received. The fu
preme Mandarine of the audience, see-
ing no other way to bring off his friend,
pronounced judgment as follows.
"Tab-quay is advanced in years, and
is without issue: this induced him
"to carry away
the
young woman
"but though he brought her home to
his house, it does not appear that he
66 ever offered her any difhonour. He
"is descended from an illuftrious fa-
"mily several of his ancestors have
"served the Emperor in the capacity
"of Generals, and have made exten-
"five conquests: he himself hath alfo
“had his share, and given signal
* The Chinese look upon it of such sacred
importance to leave posterity, that almost any
means are esteemed allowable, which conduce to
that end. See P. Du Halde, vol. 1. p. 303, 304.
"proofs
.t
•
proofs of his ability and courage.
"All this considered, as the carrying
"off this young woman was from
"the motives above recited, and was
not followed by any violence, he is
"neither guilty of a great offence, nor
66 deserving of very severe punishment:
" but this must be left to the deter-
"mination of his Majesty."
The Emperor issued out this answer
to the proceedings of the audience.
"Tab-quay is of an illuftrious fami-
ly; and of a respectable rank; but
"both thefe he hath forfeited; he hath
"made a tyrannical ufe of his power
* Here in the original are recited all his titles,
Tab quay gkeou fhau le: of which the two first
signify his name; the others his rank, answering
to Duke with us.
Transf.
"in forcing away these people: the
daughter was already engaged to
"another; his attempt was therefore
"the highest injustice: when Tieb-
"u-fbeb delivered in his petition; to
❝ secrete them in his house was a con-
"tempt of our authority: and to lodge
"a false accusation against that Man-
"darine, a great abuse of our confi-
"dence. To do justice therefore, 'tis
"necessary to take away his office: let
"him alfo be confined to his house for
"three years, paying to Han-yuen one
year's income of his place: and for
"the fake of his ancestors, let him
"be excused any farther punishment.
"The young woman, let Wey-phey
marry. Let Han-yuen be advan-
"ced to a higher degree. Let Tieb-
u-sheb be promoted to the office of
" Tu-
“Tu-cha-yuen, or Superior of the Vice-
66 roys. And lastly, for the Mandarine
"of the audience, who was judge in
"this cause, let him be amerced three
"months of his falary."
The determination of the Emperor
being made public, every body admi-
red Tieb-chung-u, for his wisdom and
courage. His same spread abroad, and
he was the general topic of conver-
fation. Mandarines from all parts
came to make him visits of congra-
tulation*; from morning to night,
*The paying of visits is a great article of Chi-
nefe politeness: these are made upon every oc-
casion, and are conducted with the most cere-
monious formality, in which every thing is re-
gulated by a public memorial; even to the
number of bows, the expressions of compliment,
titles, genuflexions, and several turns to the
right hand and left, &c.
See Du Halde, vol. 1. p. 226.
some
ference, that matters may be com-
pofed between you.” This man,
replied the youth, has deceived the
Emperor with false teftimony, and is
guilty of the greatest crimes: what
dignity then, what honour is to be re-
garded?" "If it be so, replied the
Mandarines, the Emperor ought to be
informed of it; that he may punish
them, as he shall think proper: but it
becomes not you to treat him thus."
"You say well; said Tieb-chung-u, but
being all alone, when I entered the
house, if I had not secured him, I
should have met with ill treatment."
"You are very brave and valiant, said
the Mandarines; pray did you come hi-
ther to-day, in order to revenge any
former quarrel; or to asist these old
people?"
people?" "For neither of these rea-
sons, answered he, but by a private
order of the Emperor, to apprehend
them as persons concealed in this
house." Why does not that order
appear? said they, read it to us."
He replied, "You shall see it pre-
sently."
Tab-quay perceiving so many of his
acquaintance near him, began to re-
fume courage; "Do not regard him,
he cried out; there is no truth in

[[Category:Hao Qiu Zhuan]]

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2026-03-28T05:26:18Z

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==Courses==
===Summer Semester 2026===
*THU 16:30-18:10 409 中国文化概要 [[Overview on Chinese Culture Spring 2026]] (09230030.01)(1-16,腾龙楼409教室) BA24级
*WED+THU 翻译理论与实践 [[Translation Theory and Practice Spring 2026]] (09231022.01)(1-16,腾龙楼 WED 604, THU 403) BA22级德语

===Fall Semester 2025===
*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

<div class="mw-collapsible mw-collapsed" style="border:1px solid #aaa; padding:5px; margin:5px 0;">
<div style="font-weight:bold;">Previous Semesters (click to expand)</div>
<div class="mw-collapsible-content">

====Spring Semester 2025====
*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*1 FRI 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

====Summer Semester 2025====
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

====Fall Semester 2024====
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译) 中国语言文化
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题

====Summer Semester 2024====
*THU 9:45-11:15 s. 413 [[Text Comp 2024]] 文章写作, Adam Mickiewicz University, Poznan
*THU 11:30-13:00 s. 401 [[Chin Cult 2024]] 中國文化, Adam Mickiewicz University, Poznan
*FRI 9:45-11:15 s. 424 [[Chin Poetry 2024]] 中國文學-詩歌, Adam Mickiewicz University, Poznan
*THU 8:00-9:40 [[Trans TP 2024]] 翻译理论与实践 BA3, Hunan Normal University
*FRI 8:00-9:40 [[Cult Ov 1 2024]] 中国文化概要 BA2, Hunan Normal University
*FRI 10:00-11:40 [[Cult Ov 2 2024]] 中国文化概要 BA2, Hunan Normal University

====Earlier Semesters====
* [[Chinese Language and Culture - 2025]], [[Uebungen Deutsch für Anfaenger - 2025]], [[Deutsch Multimedial 2 - 2025]], [[Muendliches Deutsch 1 - 2025]]
* [[Chinese Language and Culture, Spring 2025]], [[Overview of Chinese Culture, Spring 2025]], [[Theorie und Praxis der Übersetzung, Frühl. 2025]]
* [[Chinese Language and Culture 2024]], [[Deutsch Multimedial 2]], [[Mündliches Deutsch 1]], [[Übungen Grundkurs Deutsch]]
* [[Chinese Culture 2023]], [[Chinese Classics Translation Spring 2023]], [[Introduction to Chinese Culture Spring 2023]]
* [[Chinese Language and Culture Fall 2022]], [[Translation Theory ZH-DE 2022]], [[Foundations of Chinese Cultures 2022]]
* [[Chinese Classics Translation 2022]], [[Chinese Language and Culture 2022]]
* [[Introduction to Translation Studies 2021]], [[Foundations of Chinese Cultures 2021]]
* [[Chinese Languages and Cultures]], [[Introduction to Translation Studies]], [[German Phonetics]]
* [[Basics of Chinese Culture]], [[Cross Media Storytelling]], [[Holism as a Concept]]
* Earlier courses at Witten/Herdecke, Beijing Normal, Utah Valley, Roma Tre universities

</div>
</div>

==Institutions and Chinese Studies Conferences==
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies] August 19-20, 2017 Witten/Germany

== Useful things ==
* [[Speech scripts]]
* [[Free online tools to learn Chinese]]
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects

</div>
<span style="color:red">'''.'''</span>

Overview on Chinese Culture Spring 2026

2026-03-26T05:30:14Z

Root:

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cao Shiqin (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chen Shuanglin (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance
* Dina (迪娜·代买克): Panda-Kultur
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms
* Ma Qing (马清): Tsingtao Beer（青岛啤酒）

=Session 5 — Mar 30 (Sun 8:00, Room 601 / 4月2日14:30的课改为3月30日（周日）8:00 601教室上)=
* Huang Ruguo (黄如果): Hotpot
* Hu Xinyin (胡馨尹): Mahjong

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Erhu
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Yiyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Huang Yiyue (黄梓玥): Spring Festival Couplets
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-19T07:32:04Z

Root: Update session schedule with current topic selections (2026-03-19)

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (40%) + Final paper 期末论文 (60%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜）
* Cao Hefeng (曹河丰): Relegation Literature (Su Shi)
* Cao Shiqin (曹诗琴): 财神 God of Fortune
* Chen Shuanglin (陈双麟): Chinese Ancient Weapons

=Session 4 — Mar 26=
* Cui Xinyan (崔心彦): Traditional Chinese Dance
* Dina (迪娜·代买克): Panda-Kultur
* Hao Yuan (郝圆): Calendar, The 24 Solar Terms

=Session 5 — Apr 02=
* Huang Ruguo (黄如果): Hotpot
* Hu Xinyin (胡馨尹): Mahjong

=Session 6 — Apr 09=
* Li Sicheng (李思成): The Four Pillars of Destiny（八字）
* Peng Yilin (彭熠琳): Tea
* Qin Shangyi (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
* Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiang Jiaying (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
* Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
* Zhang Ning (张宁): Chinese Clothing
* Zhang Zihan (张子涵): Calligraphy

=Session 9 — Apr 30=
* Zhou Yingwei (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
* Cao Shiqin (曹诗琴): God of Wealth（财神）
* Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dina (迪娜·代买克): China's Four Great Classical Novels
* Hao Yuan (郝圆): Luosifen

=Session 12 — May 21=
* Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Peng Yilin (彭熠琳): Peking Opera
* Qin Shangyi (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiang Jiaying (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
* Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
* Zhang Ning (张宁): The Four Talented Women of Ancient China
* Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhou Yingwei (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chen Shuanglin (陈双麟): Wushu
* Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gao Yang (高扬): Erhu
* Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huang Yiyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Huang Yiyue (黄梓玥): Spring Festival Couplets
* Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wang Peigen (王培亘): Blind Box（盲盒）
* Wang Peigen (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-19T06:26:12Z

Root: /* Session 3 — Mar 19 — Student Presentations (Round 1) */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (40%) + Final paper 期末论文 (60%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==

===Option 1: Upload on this Wiki page===
# Log in with your Pinyin name (e.g. Chen Shuanglin) and password: wikicaptcha
# Click "Edit" at the top of this page
# Find your presentation topic in the session list below
# Add a link next to your topic: <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code>
#: Example: <code><nowiki>[[Media:Chen_Shuanglin_Ancient_Weapons_2026.pptx]]</nowiki></code>
# Click "Save", then click the red link that appears to upload your file

===Option 2: Upload on the interactive course page===
# Go to [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], log in, click on your topic, select your .pptx file, click "Upload"

'''Important / 重要:''' Compress your file to under 5MB before uploading! In PowerPoint: File → Compress Pictures → 150 dpi.

登录后点击"Edit"，在你的主题旁添加 <code><nowiki>[[Media:你的文件名.pptx]]</nowiki></code>，保存后点击红色链接上传文件。或者在[https://dcg.de/ai/uni/intro_chinese_culture.php 互动课程页面]直接上传。

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* God of Fortune 财神 — Cao Shiqin
* Chinese Ancient Weapons — Chen Shuanglin
* Northeastern Chinese Cuisine（东北菜） — Cai Lanying
* Relegation Literature (Su Shi) — Cao Hefeng

=Session 4 — Mar 26=
* Calendar, The 24 Solar Terms — Hao Yuan
* Panda-Kultur — Dina
* Traditional Chinese Dance — Cui Xinyan

=Session 5 — Apr 02=
* Hotpot — Huang Ruguo
* Mahjong — Hu Xinyin

=Session 6 — Apr 09=
* Mobile Games（手游） — Qin Shangyi
* Tea — Peng Yilin
* The Four Pillars of Destiny（八字） — Li Sicheng

=Session 7 — Apr 16=
* Hunan Rice Noodles（湖南米粉） — Wu Shengqiu
* Milk Tea — Xiang Jiaying
* Stand-up comedy（单口喜剧） — Shen Yike

=Session 8 — Apr 23=
* Calligraphy — Zhang Zihan
* Chinese Clothing — Zhang Ning
* Jiangxi Cuisine（赣菜） — Yang Shixuan
* Zhang Qian and the Silk Road — Zeng Yongqi

=Session 9 — Apr 30=
* Cheongsam — Zhou Yingwei

=Session 10 — May 07 — Student Presentations (Round 2)=
* Chinese Dreamcore（中式梦核） — Cao Hefeng
* Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua — Cao Yian
* God of Wealth（财神） — Cao Shiqin

=Session 11 — May 14=
* China's Four Great Classical Novels — Dina
* Luosifen — Hao Yuan
* Vintage Clothing — Cui Xinyan

=Session 12 — May 21=
* Guangdong Morning Tea Culture（广东早茶文化） — Huang Ruguo
* The Story of Ming Lan（知否知否应是绿肥红瘦） — Hu Xinyin

=Session 13 — May 28=
* Danmu（弹幕） — Qin Shangyi
* Peking Opera — Peng Yilin

=Session 14 — Jun 04=
* Black Myth: Wukong（黑神话悟空） — Wu Shengqiu
* Table Manners — Xiang Jiaying
* Traditional Chinese Pigments（中国传统颜料） — Shen Yike

=Session 15 — Jun 11=
* Eight Major Cuisines of China — Zeng Yongqi
* The Four Talented Women of Ancient China — Zhang Ning
* The Legend of Zhen Huan（甄嬛传） — Zhang Zihan
* The Yingge Dance（英歌舞） — Yang Shixuan

=Session 16 — Jun 18 — Final Session=
* Facial Make-up — Zhou Yingwei
* Course review, final paper submission reminder

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-19T04:15:01Z

Root: Add course structure, upload instructions, session schedule (protected section)

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (40%) + Final paper 期末论文 (60%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==

===Option 1: Upload on this Wiki page===
# Log in with your Pinyin name (e.g. Chen Shuanglin) and password: wikicaptcha
# Click "Edit" at the top of this page
# Find your presentation topic in the session list below
# Add a link next to your topic: <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code>
#: Example: <code><nowiki>[[Media:Chen_Shuanglin_Ancient_Weapons_2026.pptx]]</nowiki></code>
# Click "Save", then click the red link that appears to upload your file

===Option 2: Upload on the interactive course page===
# Go to [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], log in, click on your topic, select your .pptx file, click "Upload"

'''Important / 重要:''' Compress your file to under 5MB before uploading! In PowerPoint: File → Compress Pictures → 150 dpi.

登录后点击"Edit"，在你的主题旁添加 <code><nowiki>[[Media:你的文件名.pptx]]</nowiki></code>，保存后点击红色链接上传文件。或者在[https://dcg.de/ai/uni/intro_chinese_culture.php 互动课程页面]直接上传。

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Buytogether / PDD（拼多多） — Cao Shiqin
* Chinese Ancient Weapons — Chen Shuanglin
* Northeastern Chinese Cuisine（东北菜） — Cai Lanying
* Relegation Literature (Su Shi) — Cao Hefeng

=Session 4 — Mar 26=
* Calendar, The 24 Solar Terms — Hao Yuan
* Panda-Kultur — Dina
* Traditional Chinese Dance — Cui Xinyan

=Session 5 — Apr 02=
* Hotpot — Huang Ruguo
* Mahjong — Hu Xinyin

=Session 6 — Apr 09=
* Mobile Games（手游） — Qin Shangyi
* Tea — Peng Yilin
* The Four Pillars of Destiny（八字） — Li Sicheng

=Session 7 — Apr 16=
* Hunan Rice Noodles（湖南米粉） — Wu Shengqiu
* Milk Tea — Xiang Jiaying
* Stand-up comedy（单口喜剧） — Shen Yike

=Session 8 — Apr 23=
* Calligraphy — Zhang Zihan
* Chinese Clothing — Zhang Ning
* Jiangxi Cuisine（赣菜） — Yang Shixuan
* Zhang Qian and the Silk Road — Zeng Yongqi

=Session 9 — Apr 30=
* Cheongsam — Zhou Yingwei

=Session 10 — May 07 — Student Presentations (Round 2)=
* Chinese Dreamcore（中式梦核） — Cao Hefeng
* Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua — Cao Yian
* God of Wealth（财神） — Cao Shiqin

=Session 11 — May 14=
* China's Four Great Classical Novels — Dina
* Luosifen — Hao Yuan
* Vintage Clothing — Cui Xinyan

=Session 12 — May 21=
* Guangdong Morning Tea Culture（广东早茶文化） — Huang Ruguo
* The Story of Ming Lan（知否知否应是绿肥红瘦） — Hu Xinyin

=Session 13 — May 28=
* Danmu（弹幕） — Qin Shangyi
* Peking Opera — Peng Yilin

=Session 14 — Jun 04=
* Black Myth: Wukong（黑神话悟空） — Wu Shengqiu
* Table Manners — Xiang Jiaying
* Traditional Chinese Pigments（中国传统颜料） — Shen Yike

=Session 15 — Jun 11=
* Eight Major Cuisines of China — Zeng Yongqi
* The Four Talented Women of Ancient China — Zhang Ning
* The Legend of Zhen Huan（甄嬛传） — Zhang Zihan
* The Yingge Dance（英歌舞） — Yang Shixuan

=Session 16 — Jun 18 — Final Session=
* Facial Make-up — Zhou Yingwei
* Course review, final paper submission reminder

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-19T03:57:52Z

Root: Add complete course structure with all 16 sessions, grading criteria, and presentation schedule

'''Welcome to Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler

'''Schedule:''' Wednesday 16:30-18:10

'''Location:''' Tenglong Building Room 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Click here for the interactive course page] (topic selection, quizzes, file upload)

'''Grading:''' Regular performance 平时成绩 (40%) + Final paper 期末论文 (60%)

==Grading Criteria for Powerpoint Presentations==
#In this course, each powerpoint presentation should not exceed 15 minutes including the interactive part with the fellow students.
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully? Files must be under 5MB — compress images by reducing resolution. Other students can download your presentation for review.
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

=Session 1 — Thu Mar 05 — Organizational Issues=
* Overview of the course structure
* Introduction to Chinese culture studies
* How to choose presentation topics (each student picks 2 topics)
* Final paper guidelines: ~3000 words, topic not yet written by any previous student, must be approved by teacher, format like a chapter in the textbook (English + Chinese), AI content less than 15%

=Session 2 — Wed Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture
* Overview of major cultural categories
* Discussion of presentation expectations

=Session 3 — Wed Mar 19 — Student Presentations (Round 1)=
* Buytogether / PDD（拼多多） — Cao Shiqin
* Chinese Ancient Weapons — Chen Shuanglin
* Northeastern Chinese Cuisine（东北菜） — Cai Lanying
* Relegation Literature (Su Shi) — Cao Hefeng

=Session 4 — Wed Mar 26 — Student Presentations=
* Calendar, The 24 Solar Terms — Hao Yuan
* Panda-Kultur — Dina
* Traditional Chinese Dance — Cui Xinyan

=Session 5 — Wed Apr 02 — Student Presentations=
* Hotpot — Huang Ruguo
* Mahjong — Hu Xinyin

=Session 6 — Wed Apr 09 — Student Presentations=
* Mobile Games（手游） — Qin Shangyi
* Tea — Peng Yilin
* The Four Pillars of Destiny（八字） — Li Sicheng

=Session 7 — Wed Apr 16 — Student Presentations=
* Hunan Rice Noodles（湖南米粉） — Wu Shengqiu
* Milk Tea — Xiang Jiaying
* Stand-up comedy（单口喜剧） — Shen Yike

=Session 8 — Wed Apr 23 — Student Presentations=
* Calligraphy — Zhang Zihan
* Chinese Clothing — Zhang Ning
* Jiangxi Cuisine（赣菜） — Yang Shixuan
* Zhang Qian and the Silk Road — Zeng Yongqi

=Session 9 — Wed Apr 30 — Student Presentations=
* Cheongsam — Zhou Yingwei

=Session 10 — Wed May 07 — Student Presentations (Round 2)=
* Chinese Dreamcore（中式梦核） — Cao Hefeng
* Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua — Cao Yian
* God of Wealth（财神） — Cao Shiqin

=Session 11 — Wed May 14 — Student Presentations=
* China's Four Great Classical Novels — Dina
* Luosifen — Hao Yuan
* Vintage Clothing — Cui Xinyan

=Session 12 — Wed May 21 — Student Presentations=
* Guangdong Morning Tea Culture（广东早茶文化） — Huang Ruguo
* The Story of Ming Lan（知否知否应是绿肥红瘦） — Hu Xinyin

=Session 13 — Wed May 28 — Student Presentations=
* Danmu（弹幕） — Qin Shangyi
* Peking Opera — Peng Yilin

=Session 14 — Wed Jun 04 — Student Presentations=
* Black Myth: Wukong（黑神话悟空） — Wu Shengqiu
* Table Manners — Xiang Jiaying
* Traditional Chinese Pigments（中国传统颜料） — Shen Yike

=Session 15 — Wed Jun 11 — Student Presentations=
* Eight Major Cuisines of China — Zeng Yongqi
* The Four Talented Women of Ancient China — Zhang Ning
* The Legend of Zhen Huan（甄嬛传） — Zhang Zihan
* The Yingge Dance（英歌舞） — Yang Shixuan

=Session 16 — Wed Jun 18 — Final Presentations + Course Review=
* Facial Make-up — Zhou Yingwei
* Course review and final paper submission reminder

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-19T03:51:06Z

Root: /* Semester Paper Topics (choose 1) */

tt:170583 '''Welcome to Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler

'''Schedule:''' Thursday 16:30-18:10

'''Location:''' Tenglong Building Room 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Click here for the interactive course page] (topic selection, quizzes, file upload)

==Grading Criteria for Powerpoint Presentations==
#In this course, each powerpoint presentation should not exceed 15 minutes including the interactive part with the fellow students.
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

== Overview on Chinese Culture — Spring 2026 ==
=== Presentation Schedule ===

{| class="wikitable sortable" style="width:100%"
|-
! Date !! Topic !! Student !! 中文名
|-
| rowspan="4" | '''2026-03-19''' || Buytogether / PDD（拼多多） || Cao Shiqin || 曹诗琴
|-
| Chinese Ancient Weapons || Chen Shuanglin || 陈双麟
|-
| Northeastern Chinese Cuisine（东北菜） || Cai Lanying || 蔡蓝颖
|-
| Relegation Literature (Su Shi) || Cao Hefeng || 曹河丰
|-
| rowspan="3" | '''2026-03-26''' || Calendar, The 24 Solar Terms || Hao Yuan || 郝圆
|-
| Panda-Kultur || Dina || 迪娜·代买克
|-
| Traditional Chinese Dance || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-04-02''' || Hotpot || Huang Ruguo || 黄如果
|-
| Mahjong || Hu Xinyin || 胡馨尹
|-
| rowspan="3" | '''2026-04-09''' || Mobile Games（手游） || Qin Shangyi || 秦尚易
|-
| Tea || Peng Yilin || 彭熠琳
|-
| The Four Pillars of Destiny（八字） || Li Sicheng || 李思成
|-
| rowspan="3" | '''2026-04-16''' || Hunan Rice Noodles（湖南米粉） || Wu Shengqiu || 伍胜球
|-
| Milk Tea || Xiang Jiaying || 向佳滢
|-
| Stand-up comedy（单口喜剧） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-04-23''' || Calligraphy || Zhang Zihan || 张子涵
|-
| Chinese Clothing || Zhang Ning || 张宁
|-
| Jiangxi Cuisine（赣菜） || Yang Shixuan || 杨诗萱
|-
| Zhang Qian and the Silk Road || Zeng Yongqi || 曾咏琪
|-
| rowspan="1" | '''2026-04-30''' || Cheongsam || Zhou Yingwei || 周颖微
|-
| rowspan="3" | '''2026-05-07''' || Chinese Dreamcore（中式梦核） || Cao Hefeng || 曹河丰
|-
| Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua || Cao Yian || 曹亦桉
|-
| God of Wealth（财神） || Cao Shiqin || 曹诗琴
|-
| rowspan="3" | '''2026-05-14''' || China's Four Great Classical Novels || Dina || 迪娜·代买克
|-
| Luosifen || Hao Yuan || 郝圆
|-
| Vintage Clothing || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-05-21''' || Guangdong Morning Tea Culture（广东早茶文化） || Huang Ruguo || 黄如果
|-
| The Story of Ming Lan（知否知否应是绿肥红瘦） || Hu Xinyin || 胡馨尹
|-
| rowspan="2" | '''2026-05-28''' || Danmu（弹幕） || Qin Shangyi || 秦尚易
|-
| Peking Opera || Peng Yilin || 彭熠琳
|-
| rowspan="3" | '''2026-06-04''' || Black Myth: Wukong（黑神话悟空） || Wu Shengqiu || 伍胜球
|-
| Table Manners || Xiang Jiaying || 向佳滢
|-
| Traditional Chinese Pigments（中国传统颜料） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-06-11''' || Eight Major Cuisines of China || Zeng Yongqi || 曾咏琪
|-
| The Four Talented Women of Ancient China || Zhang Ning || 张宁
|-
| The Legend of Zhen Huan（甄嬛传） || Zhang Zihan || 张子涵
|-
| The Yingge Dance（英歌舞） || Yang Shixuan || 杨诗萱
|-
| rowspan="1" | '''2026-06-18''' || Facial Make-up || Zhou Yingwei || 周颖微
|}

=== Unscheduled Topics ===

{| class="wikitable"
|-
! Topic !! Student !! 中文名
|-
| Ancient Chinese Education || Shen Weibing || 申伟兵
|-
| Braised Chicken Rice（黄焖鸡米饭） || Huang Yiyue || 黄梓玥
|-
| Chinese popular viral memes（中国网络热梗） || Cao Yian || 曹亦桉
|-
| Harbin Ice and Snow World（冰雪大世界） || Cai Lanying || 蔡蓝颖
|-
| Modern Chinese Education System || Shen Weibing || 申伟兵
|-
| Shandong cuisine（鲁菜） || Ma Qing || 马晴
|-
| Spring Festival Couplets || Huang Yiyue || 黄梓玥
|-
| Sunzi's Art of War（孙子兵法） || Li Sicheng || 李思成
|-
| Tsingtao Beer（青岛啤酒） || Ma Qing || 马晴
|-
| Yongzhou Blood Duck (永州血鸭) || Chen Shuanglin || 陈双麟
|-
| Currency, Jiaozi (Paper Currency in Northern Song) || ''(not assigned)'' ||
|-
| Yueyang Tianshi Dance（岳阳天狮舞） || ''(not assigned)'' ||
|}

=== Notes ===
* Each student presents '''twice''' during the semester (Round 1: March–April, Round 2: May–June)
* Presentations are 10–15 minutes each, followed by Q&A
* Students can change their topic or reschedule via the [https://dcg.de/ai/uni/ course portal]
* Minimum 4 presentations per session preferred — some weeks are currently underbooked

''Last updated: 2026-03-19''

==Session 1 - Thu Mar 05 16:30-18:10 Room 409 - Organizational Issues=

==What we learn==
* Overview of the course structure
* Introduction to Chinese culture studies
* How to choose presentation topics (each student picks 2 topics)
* Semester paper guidelines

==Textbook==
* ''Overview of Chinese Culture'' (中国文化概要)

==Homework before Session 2==
* Choose 2 presentation topics from the list below (via [https://dcg.de/ai/uni/intro_chinese_culture.php course website])
* Read Chapter 1 of the textbook

=Presentation Topics (choose 2)=

Each student must select '''2 presentation topics''' and prepare a '''15-minutes PowerPoint presentation''' for each.

Please use the [https://dcg.de/ai/uni/intro_chinese_culture.php interactive course page] to select your topics. Below is the complete list organized by category.

==Geography==
# Geographic Nature as a Basis for Cultural Development (p.17)
# Great Wall (长城) (p.17)
# Grand Canal (京杭大运河) (p.17)

==Aesthetic Ideals==
# Standards of Beauty in Ancient China (p.25)
# Foot Binding (缠足) (p.25)
# Chinese Aesthetics in Modern Fashion (p.25)

==Animals==
# Dragon (龙) and Phoenix (凤) Symbolism (p.27)
# Panda as National Symbol (p.27)
# Animals in Chinese Mythology (p.27)
# Chinese Zodiac Animals (十二生肖) (p.27)

==Architecture==
# The Forbidden City (故宫) (p.32)
# Traditional Courtyard Houses (四合院) (p.32)
# Chinese Pagodas (塔) (p.32)
# Temple Architecture (寺庙建筑) (p.32)
# Modern Chinese Architecture (p.32)
# Tulou (Hakka Earth Buildings) (土楼) (p.32)
# Chinese Bridges (桥) (p.32)

==Army/Weapons==
# Terracotta Army (兵马俑) (p.40)
# Ancient Chinese Weapons (p.40)
# Sun Tzu's Art of War (孙子兵法) (p.40)

==Astrology==
# Chinese Zodiac (生肖) (p.44)
# Chinese Calendar System (农历) (p.44)
# Feng Shui (风水) (p.44)
# I Ching / Book of Changes (易经) (p.44)

==Beverages==
# Tea Culture (茶文化) (p.48)
# Chinese Tea Ceremony (p.48)
# Types of Chinese Tea (绿茶/红茶/乌龙茶) (p.48)
# Chinese Wine Culture (酒文化) (p.48)
# Baijiu (白酒) (p.48)

==Body Movement==
# Tai Chi (太极拳) (p.55)
# Qigong (气功) (p.55)
# Chinese Dance Traditions (p.55)

==Chinese Writing==
# Chinese Calligraphy (书法) (p.60)
# Evolution of Chinese Characters (p.60)
# Seal Carving (篆刻) (p.60)
# Four Treasures of the Study (文房四宝) (p.60)

==Clothing==
# Hanfu (汉服) (p.65)
# Qipao/Cheongsam (旗袍) (p.65)
# Traditional Chinese Clothing through Dynasties (p.65)
# Chinese Silk and Embroidery (p.65)

==Confucianism==
# Confucius and His Teachings (p.72)
# The Analerta (论语) (p.72)
# Neo-Confucianism (p.72)
# Confucianism in Modern Chinese Society (p.72)
# Confucian Education System (p.72)
# Five Relationships (五伦) (p.72)

==Economy==
# Silk Road and Ancient Trade (p.80)
# Modern Chinese Economic Development (p.80)
# Chinese E-Commerce (电商) (p.80)

==Education==
# Imperial Examination System (科举) (p.85)
# Chinese Education Today (p.85)
# Gaokao (高考) (p.85)
# Chinese Study Abroad Culture (p.85)

==Facial Make-up==
# Beijing Opera Face Painting (脸谱) (p.90)

==Fine Arts==
# Chinese Painting (国画) (p.92)
# Chinese Landscape Painting (山水画) (p.92)
# Ink Wash Painting (水墨画) (p.92)
# Chinese Paper Cutting (剪纸) (p.92)
# Chinese Porcelain Art (p.92)
# Chinese Jade Carving (玉雕) (p.92)

==Games==
# Mahjong (麻将) (p.100)
# Chinese Chess (象棋) (p.100)
# Go/Weiqi (围棋) (p.100)
# Kite Flying (风筝) (p.100)

==Garden Culture==
# Classical Chinese Gardens (古典园林) (p.105)
# Suzhou Gardens (苏州园林) (p.105)
# Bonsai/Penjing (盆景) (p.105)

==Gender/History==
# Women in Chinese History (p.110)
# Famous Chinese Empresses (p.110)
# Gender Roles in Traditional China (p.110)

==Heritage Sites==
# UNESCO World Heritage Sites in China (p.115)
# Dunhuang Mogao Caves (莫高窟) (p.115)
# The Summer Palace (颐和园) (p.115)
# Mount Tai (泰山) (p.115)

==Interieur==
# Chinese Furniture Design (p.120)
# Chinese Ceramics and Porcelain (陶瓷) (p.120)
# Traditional Chinese Interior Design (p.120)

==Landscapes/Tourism==
# Guilin Landscape (桂林山水) (p.125)
# Zhangjiajie (张家界) (p.125)
# Yellow Mountains (黄山) (p.125)
# West Lake (西湖) (p.125)
# Li River (漓江) (p.125)
# Jiuzhaigou Valley (九寨沟) (p.125)
# Yangtze Three Gorges (长江三峡) (p.125)

==Language==
# Chinese Language: Tones and Characters (p.132)
# Chinese Dialects (方言) (p.132)
# Chinese Idioms and Proverbs (成语) (p.132)
# Chinese Internet Slang (网络用语) (p.132)

==Literature==
# Four Great Classical Novels (四大名著) (p.138)
# Dream of the Red Chamber (红楼梦) (p.138)
# Journey to the West (西游记) (p.138)
# Three Kingdoms (三国演义) (p.138)
# Chinese Poetry: Tang Poetry (唐诗) (p.138)
# Lu Xun and Modern Literature (p.138)
# Chinese Science Fiction (三体) (p.138)

==Martial Arts==
# Chinese Kung Fu (功夫) (p.148)
# Shaolin Temple (少林寺) (p.148)
# Wudang (武当) (p.148)
# Wing Chun (咏春) (p.148)
# Martial Arts in Chinese Cinema (p.148)

==Medicine/TCM==
# Traditional Chinese Medicine (中医) (p.155)
# Acupuncture (针灸) (p.155)
# Chinese Herbal Medicine (中草药) (p.155)
# Yin and Yang in Medicine (p.155)

==Minority Cultures==
# China's 56 Ethnic Groups (p.160)
# Tibetan Culture (藏族文化) (p.160)
# Uyghur Culture (维吾尔族文化) (p.160)
# Miao/Hmong Culture (苗族文化) (p.160)
# Mongolian Culture (蒙古族文化) (p.160)
# Zhuang Culture (壮族文化) (p.160)
# Dai Culture (傣族文化) (p.160)

==Modern Culture==
# Chinese Social Media (WeChat, Weibo, Douyin) (p.168)
# Chinese Film Industry (p.168)
# C-Pop and K-Pop in China (p.168)
# Chinese Animation (动漫) (p.168)
# Chinese Gaming Culture (p.168)

==Money Culture==
# Chinese Currency History (p.175)
# Red Envelopes (红包) (p.175)
# Chinese Business Culture (p.175)

==Music/Instruments==
# Traditional Chinese Music (p.180)
# Guqin (古琴) (p.180)
# Erhu (二胡) (p.180)
# Pipa (琵琶) (p.180)
# Chinese Opera Music (p.180)

==Mythology==
# Chinese Creation Myths (p.188)
# Journey to the West Characters (p.188)
# Chinese Dragons (p.188)
# Moon Goddess Chang'e (嫦娥) (p.188)
# Nezha (哪吒) (p.188)

==National Symbols==
# Chinese Flag and Emblem (p.195)
# National Anthem (义勇军进行曲) (p.195)
# Giant Panda as Symbol (p.195)

==Opera==
# Beijing Opera (京剧) (p.200)
# Kunqu Opera (昆曲) (p.200)
# Cantonese Opera (粤剧) (p.200)
# Sichuan Opera Face Changing (变脸) (p.200)

==Philosophical Schools==
# Daoism/Taoism (道家) (p.205)
# Legalism (法家) (p.205)
# Mohism (墨家) (p.205)
# Buddhism in China (佛教) (p.205)
# Hundred Schools of Thought (百家争鸣) (p.205)

==Religion==
# Buddhism in China (p.212)
# Chinese Folk Religion (民间信仰) (p.212)
# Daoism as Religion (p.212)
# Christianity in China (p.212)
# Islam in China (p.212)

==Science/Technology==
# Four Great Inventions (四大发明) (p.220)
# Ancient Chinese Astronomy (p.220)
# Chinese Mathematics History (p.220)
# Modern Chinese Technology (高铁/5G) (p.220)

==Silk/Porcelain==
# Chinese Silk Production (p.228)
# Jingdezhen Porcelain (景德镇瓷器) (p.228)
# Chinese Lacquerware (漆器) (p.228)

==Silk Road==
# Ancient Silk Road (丝绸之路) (p.232)
# Maritime Silk Road (海上丝绸之路) (p.232)
# Belt and Road Initiative (一带一路) (p.232)

==Social==
# Chinese Family Values (p.237)
# Filial Piety (孝) (p.237)
# Chinese Naming Culture (p.237)
# Chinese Wedding Customs (p.237)
# Guanxi (关系) (p.237)

==Sports==
# Table Tennis in China (p.245)
# Chinese Martial Arts as Sport (p.245)
# 2008/2022 Olympics (p.245)

==Stage Entertainment==
# Chinese Acrobatics (杂技) (p.250)
# Shadow Puppetry (皮影戏) (p.250)
# Chinese Magic/Variety Shows (p.250)

==Traditional Crafts==
# Chinese Knotting (中国结) (p.255)
# Cloisonné (景泰蓝) (p.255)
# Chinese Embroidery (刺绣) (p.255)
# Chinese Woodblock Printing (p.255)
# Sugar Painting (糖画) (p.255)
# Dough Figurines (面塑) (p.255)

==Traditional Cuisine==
# Eight Great Cuisines (八大菜系) (p.262)
# Sichuan Cuisine (川菜) (p.262)
# Cantonese Dim Sum (广式点心) (p.262)
# Peking Duck (北京烤鸭) (p.262)
# Chinese Hot Pot (火锅) (p.262)
# Chinese Dumplings (饺子) (p.262)
# Chinese Street Food (小吃) (p.262)

==Traditional Festivals==
# Spring Festival / Chinese New Year (春节) (p.272)
# Mid-Autumn Festival (中秋节) (p.272)
# Dragon Boat Festival (端午节) (p.272)
# Lantern Festival (元宵节) (p.272)
# Qingming Festival (清明节) (p.272)
# Double Ninth Festival (重阳节) (p.272)

==Westernization==
# Western Influence on Modern China (p.280)
# Chinese Students Abroad (p.280)
# East Meets West in Chinese Culture (p.280)

==Worship==
# Ancestor Worship (祖先崇拜) (p.285)
# Chinese Temple Culture (p.285)
# Incense and Worship Traditions (p.285)

=Semester Paper Topics (choose 1)=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

Below are topics from previous students for inspiration:

==Food & Beverages==
* Anhua Dark Green Tea（安化黑茶）
* Braised Pork Meatballs in Brown Sauce（红烧狮子头）
* Camellia Oil（茶油）
* Changshou Rice Noodles（长寿米粉）
* DUO Jiao Yu Tou（剁椒鱼头）
* Daokou Braised Chicken（道口烧鸡）
* Honghu Lotus Root（洪湖莲藕）
* Hulatang（胡辣汤）
* Jingzhou Fish Cake（荆州鱼糕）
* Jining Bengrou Rice（济宁甏肉干饭）
* Knife-cut Noodles（刀削面）
* Lei Cha（擂茶）
* Luo Yang Water Banquet（洛阳水席）
* Nanchang Rice Noodles and Clay Pot Soup（南昌米粉和瓦罐汤）
* Qifengdu Fish Rice Noodles（栖枫渡鱼粉）
* Shanxi Aged Vinegar（山西醋）
* Shaoyang Rice Noodles
* Sichuan Noodles
* Snack: Malatang（麻辣烫）
* Sour Fish Soup with Litsea Cubeba（木姜子酸汤鱼）
* Sour Plum Drink（酸梅汤）
* Tsingtao Beer（青岛啤酒）
* West Lake Longjing Tea（西湖龙井）
* Wugang Braised Food（武冈卤菜）
* Xiamen Tusun Dong（厦门土笋冻）
* Yanji Cold Noodle（延吉冷面）
* Yellow Tea — Junshan Yinzhen（君山银针）
* Yunan Flower Cake（云南鲜花饼）

==Performance & Music==
* Baishou Dance（摆手舞）
* Huagu Opera（花鼓戏）
* Korean Janggu Dance（朝鲜族长鼓舞）
* Miao Golden Pheasant Dance（苗族锦鸡舞）
* Nanyin Music（南音）
* Ningxiang Shadow Puppets（宁乡皮影戏）
* Nuo Opera（傩戏）
* Qidong Yuguxi（祁东渔鼓戏）
* Shaoyang Glove Puppetry（邵阳布袋木偶戏）
* Xinhua Folk Songs（新化山歌）

==Traditional Crafts & Arts==
* Bai Tie-Dye（白族扎染）
* Chinese Intangible Cultural Heritage – Round Silk Fan（团扇）
* Chinese Paper Offering Art（纸扎艺术）
* Chinese Sugar Painting（中国糖画）
* Chinese traditional instruments Konghou（箜篌）
* Fine Arts: Born of Gautama Buddha（《送子天王图》）
* Ru Porcelain（汝瓷）
* Tahu Paper Cuts（踏虎凿花）
* Three Carvings of Huizhou（徽州三雕）
* Underglaze Five-Color Porcelain（釉下五彩瓷）
* Wuhu Iron Painting（芜湖铁画）
* Xiang Embroidery（湘绣）
* Yi Embroidery（彝绣）

==Heritage Sites & Landmarks==
* Emperor Shun's Mausoleum in Jiuyi Mountain（九嶷山舜帝陵）
* Fengdu Ghost City（丰都鬼城）
* Fenghuang Ancient Town（凤凰古城）
* Leshan Giant Buddha
* Longmen Grottoes（龙门石窟）
* Loulan Ancient City（楼兰古城）
* Sanqing Mountain（三清山）
* The Foremost Cliff Inscriptions Site — WuXi Forest of Steles（浯溪碑林）
* Wuyi Mountain（武夷山）
* Xijiang Qianhu Miao Village（西江千户苗寨）

==Festivals & Customs==
* Guangxi's Zhuang March 3rd Festival（广西壮族三月三）
* Harbin International Ice and Snow Festival（哈尔滨国际冰雪节）
* Lantern Riddles（灯谜）
* Public Memorial Ceremony at the Emperor Yan Mausoleum（炎帝陵公祭）
* Temple Fair（庙会）
* The Modern Value of Yi People's Torch Festival（彝族火把节的当代价值）
* Water-Splashing Festival（泼水节）
* Zhuang Ethnic Minority Third Day of the Third Lunar Month（壮族三月三）

==Ethnic Minorities==
* Dish-Serving Dance of Yi Ethnic Group in Nanjian（南涧彝族跳菜）
* The Black Rice of the Miao Ethnic Group（苗族黑米饭）
* The Li Ethnic Group: Tiao Niang Dance（黎族跳娘舞）
* The Mosuo People（摩梭人）
* Tibetan Culture（藏族文化）
* Xilankapu: Traditional Tujia Brocade from Enshi（湖北恩施土家族西兰卡普织锦）

==Games & Popular Culture==
* Blind Box（盲盒）
* Chinese Cultivation Games（中国修仙游戏）
* Chinese Style Game: Jiangnan Peekaboo（江南百景图）
* Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Hunan Tongguan Studio Short Drama Film and Television City（湖南铜官竖店短剧影视城）
* Myers-Briggs Type Indicator（迈尔斯-布里格斯类型指标）
* Study on the Cultural Connotation and Modern Value of the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

==Language & Clothing==
* Changsha Dialect（长沙方言）
* Chinese Sachets（中国香囊）
* Clothing: Chinese Hanfu（汉服）
* Quanzhou Zanhua (Hairpin Flower Adornment)（泉州簪花）

==Science, Technology & Martial Arts==
* Chinese intangible cultural heritage - Liuyang Fireworks
* Datiehua (Iron Fireworks)（打铁花）
* Irrigation System: Dujiangyan in Cheng Du（成都都江堰）
* Rucheng Incense Dragon（汝城香火龙）
* Shaolin Kongfu（少林功夫）
* TCM Health Preservation - Dietary Therapy（中医养生——食疗）

==Literature & Scholarship==
* Jujube Cake（酸枣糕）
* Redology: the study of Dream of the Red Chamber（红学）
* Seven Sages of Bamboo Grove（竹林七贤）
* The Four Treasures of the Study
* The Presumably Earliest City in China - Chengtoushan（中国最早的城市-城头山）
* The Quest for Love of Lao Lee（老舍《离婚》）
* Yongle Encyclopedia（《永乐大典》）

==Architecture==
* Huizhou Architecture（徽派建筑）

==Cultural Symbols & Traditions==
* Symbols of Traditional Chinese Culture: Loong and Fenghuang（龙和凤）
* The Disappearing Chongqing "Bang Bang"
* The Eight Oddities of Shaanxi（陕西八大怪）
* The Nuo Culture of Jiangxi（赣傩文化）
* The Peach Blossom Spring (Taohuayuan): From Literary Utopia to Cultural Symbol of Changde（常德桃花源）
* Traditional Chinese Cultural Symbol: Liuchi Alley（六尺巷）
* Yueyang Tianshi Dance（岳阳天狮舞）
* Yulin Invitation（玉麟相邀/衡阳土头碗）
* Yuanling Shailan Meat（沅陵晒兰肉）
* Yongzhou Blood Duck（永州血鸭）

[[Category:Courses]]
[[Category:Spring 2026]]

Overview on Chinese Culture Spring 2026

2026-03-19T03:46:13Z

Root: Restore original content + add presentation schedule table

tt:170583 '''Welcome to Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler

'''Schedule:''' Thursday 16:30-18:10

'''Location:''' Tenglong Building Room 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Click here for the interactive course page] (topic selection, quizzes, file upload)

==Grading Criteria for Powerpoint Presentations==
#In this course, each powerpoint presentation should not exceed 15 minutes including the interactive part with the fellow students.
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

== Overview on Chinese Culture — Spring 2026 ==
=== Presentation Schedule ===

{| class="wikitable sortable" style="width:100%"
|-
! Date !! Topic !! Student !! 中文名
|-
| rowspan="4" | '''2026-03-19''' || Buytogether / PDD（拼多多） || Cao Shiqin || 曹诗琴
|-
| Chinese Ancient Weapons || Chen Shuanglin || 陈双麟
|-
| Northeastern Chinese Cuisine（东北菜） || Cai Lanying || 蔡蓝颖
|-
| Relegation Literature (Su Shi) || Cao Hefeng || 曹河丰
|-
| rowspan="3" | '''2026-03-26''' || Calendar, The 24 Solar Terms || Hao Yuan || 郝圆
|-
| Panda-Kultur || Dina || 迪娜·代买克
|-
| Traditional Chinese Dance || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-04-02''' || Hotpot || Huang Ruguo || 黄如果
|-
| Mahjong || Hu Xinyin || 胡馨尹
|-
| rowspan="3" | '''2026-04-09''' || Mobile Games（手游） || Qin Shangyi || 秦尚易
|-
| Tea || Peng Yilin || 彭熠琳
|-
| The Four Pillars of Destiny（八字） || Li Sicheng || 李思成
|-
| rowspan="3" | '''2026-04-16''' || Hunan Rice Noodles（湖南米粉） || Wu Shengqiu || 伍胜球
|-
| Milk Tea || Xiang Jiaying || 向佳滢
|-
| Stand-up comedy（单口喜剧） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-04-23''' || Calligraphy || Zhang Zihan || 张子涵
|-
| Chinese Clothing || Zhang Ning || 张宁
|-
| Jiangxi Cuisine（赣菜） || Yang Shixuan || 杨诗萱
|-
| Zhang Qian and the Silk Road || Zeng Yongqi || 曾咏琪
|-
| rowspan="1" | '''2026-04-30''' || Cheongsam || Zhou Yingwei || 周颖微
|-
| rowspan="3" | '''2026-05-07''' || Chinese Dreamcore（中式梦核） || Cao Hefeng || 曹河丰
|-
| Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua || Cao Yian || 曹亦桉
|-
| God of Wealth（财神） || Cao Shiqin || 曹诗琴
|-
| rowspan="3" | '''2026-05-14''' || China's Four Great Classical Novels || Dina || 迪娜·代买克
|-
| Luosifen || Hao Yuan || 郝圆
|-
| Vintage Clothing || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-05-21''' || Guangdong Morning Tea Culture（广东早茶文化） || Huang Ruguo || 黄如果
|-
| The Story of Ming Lan（知否知否应是绿肥红瘦） || Hu Xinyin || 胡馨尹
|-
| rowspan="2" | '''2026-05-28''' || Danmu（弹幕） || Qin Shangyi || 秦尚易
|-
| Peking Opera || Peng Yilin || 彭熠琳
|-
| rowspan="3" | '''2026-06-04''' || Black Myth: Wukong（黑神话悟空） || Wu Shengqiu || 伍胜球
|-
| Table Manners || Xiang Jiaying || 向佳滢
|-
| Traditional Chinese Pigments（中国传统颜料） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-06-11''' || Eight Major Cuisines of China || Zeng Yongqi || 曾咏琪
|-
| The Four Talented Women of Ancient China || Zhang Ning || 张宁
|-
| The Legend of Zhen Huan（甄嬛传） || Zhang Zihan || 张子涵
|-
| The Yingge Dance（英歌舞） || Yang Shixuan || 杨诗萱
|-
| rowspan="1" | '''2026-06-18''' || Facial Make-up || Zhou Yingwei || 周颖微
|}

=== Unscheduled Topics ===

{| class="wikitable"
|-
! Topic !! Student !! 中文名
|-
| Ancient Chinese Education || Shen Weibing || 申伟兵
|-
| Braised Chicken Rice（黄焖鸡米饭） || Huang Yiyue || 黄梓玥
|-
| Chinese popular viral memes（中国网络热梗） || Cao Yian || 曹亦桉
|-
| Harbin Ice and Snow World（冰雪大世界） || Cai Lanying || 蔡蓝颖
|-
| Modern Chinese Education System || Shen Weibing || 申伟兵
|-
| Shandong cuisine（鲁菜） || Ma Qing || 马晴
|-
| Spring Festival Couplets || Huang Yiyue || 黄梓玥
|-
| Sunzi's Art of War（孙子兵法） || Li Sicheng || 李思成
|-
| Tsingtao Beer（青岛啤酒） || Ma Qing || 马晴
|-
| Yongzhou Blood Duck (永州血鸭) || Chen Shuanglin || 陈双麟
|-
| Currency, Jiaozi (Paper Currency in Northern Song) || ''(not assigned)'' ||
|-
| Yueyang Tianshi Dance（岳阳天狮舞） || ''(not assigned)'' ||
|}

=== Notes ===
* Each student presents '''twice''' during the semester (Round 1: March–April, Round 2: May–June)
* Presentations are 10–15 minutes each, followed by Q&A
* Students can change their topic or reschedule via the [https://dcg.de/ai/uni/ course portal]
* Minimum 4 presentations per session preferred — some weeks are currently underbooked

''Last updated: 2026-03-19''

==Session 1 - Thu Mar 05 16:30-18:10 Room 409 - Organizational Issues=

==What we learn==
* Overview of the course structure
* Introduction to Chinese culture studies
* How to choose presentation topics (each student picks 2 topics)
* Semester paper guidelines

==Textbook==
* ''Overview of Chinese Culture'' (中国文化概要)

==Homework before Session 2==
* Choose 2 presentation topics from the list below (via [https://dcg.de/ai/uni/intro_chinese_culture.php course website])
* Read Chapter 1 of the textbook

=Presentation Topics (choose 2)=

Each student must select '''2 presentation topics''' and prepare a '''15-minutes PowerPoint presentation''' for each.

Please use the [https://dcg.de/ai/uni/intro_chinese_culture.php interactive course page] to select your topics. Below is the complete list organized by category.

==Geography==
# Geographic Nature as a Basis for Cultural Development (p.17)
# Great Wall (长城) (p.17)
# Grand Canal (京杭大运河) (p.17)

==Aesthetic Ideals==
# Standards of Beauty in Ancient China (p.25)
# Foot Binding (缠足) (p.25)
# Chinese Aesthetics in Modern Fashion (p.25)

==Animals==
# Dragon (龙) and Phoenix (凤) Symbolism (p.27)
# Panda as National Symbol (p.27)
# Animals in Chinese Mythology (p.27)
# Chinese Zodiac Animals (十二生肖) (p.27)

==Architecture==
# The Forbidden City (故宫) (p.32)
# Traditional Courtyard Houses (四合院) (p.32)
# Chinese Pagodas (塔) (p.32)
# Temple Architecture (寺庙建筑) (p.32)
# Modern Chinese Architecture (p.32)
# Tulou (Hakka Earth Buildings) (土楼) (p.32)
# Chinese Bridges (桥) (p.32)

==Army/Weapons==
# Terracotta Army (兵马俑) (p.40)
# Ancient Chinese Weapons (p.40)
# Sun Tzu's Art of War (孙子兵法) (p.40)

==Astrology==
# Chinese Zodiac (生肖) (p.44)
# Chinese Calendar System (农历) (p.44)
# Feng Shui (风水) (p.44)
# I Ching / Book of Changes (易经) (p.44)

==Beverages==
# Tea Culture (茶文化) (p.48)
# Chinese Tea Ceremony (p.48)
# Types of Chinese Tea (绿茶/红茶/乌龙茶) (p.48)
# Chinese Wine Culture (酒文化) (p.48)
# Baijiu (白酒) (p.48)

==Body Movement==
# Tai Chi (太极拳) (p.55)
# Qigong (气功) (p.55)
# Chinese Dance Traditions (p.55)

==Chinese Writing==
# Chinese Calligraphy (书法) (p.60)
# Evolution of Chinese Characters (p.60)
# Seal Carving (篆刻) (p.60)
# Four Treasures of the Study (文房四宝) (p.60)

==Clothing==
# Hanfu (汉服) (p.65)
# Qipao/Cheongsam (旗袍) (p.65)
# Traditional Chinese Clothing through Dynasties (p.65)
# Chinese Silk and Embroidery (p.65)

==Confucianism==
# Confucius and His Teachings (p.72)
# The Analerta (论语) (p.72)
# Neo-Confucianism (p.72)
# Confucianism in Modern Chinese Society (p.72)
# Confucian Education System (p.72)
# Five Relationships (五伦) (p.72)

==Economy==
# Silk Road and Ancient Trade (p.80)
# Modern Chinese Economic Development (p.80)
# Chinese E-Commerce (电商) (p.80)

==Education==
# Imperial Examination System (科举) (p.85)
# Chinese Education Today (p.85)
# Gaokao (高考) (p.85)
# Chinese Study Abroad Culture (p.85)

==Facial Make-up==
# Beijing Opera Face Painting (脸谱) (p.90)

==Fine Arts==
# Chinese Painting (国画) (p.92)
# Chinese Landscape Painting (山水画) (p.92)
# Ink Wash Painting (水墨画) (p.92)
# Chinese Paper Cutting (剪纸) (p.92)
# Chinese Porcelain Art (p.92)
# Chinese Jade Carving (玉雕) (p.92)

==Games==
# Mahjong (麻将) (p.100)
# Chinese Chess (象棋) (p.100)
# Go/Weiqi (围棋) (p.100)
# Kite Flying (风筝) (p.100)

==Garden Culture==
# Classical Chinese Gardens (古典园林) (p.105)
# Suzhou Gardens (苏州园林) (p.105)
# Bonsai/Penjing (盆景) (p.105)

==Gender/History==
# Women in Chinese History (p.110)
# Famous Chinese Empresses (p.110)
# Gender Roles in Traditional China (p.110)

==Heritage Sites==
# UNESCO World Heritage Sites in China (p.115)
# Dunhuang Mogao Caves (莫高窟) (p.115)
# The Summer Palace (颐和园) (p.115)
# Mount Tai (泰山) (p.115)

==Interieur==
# Chinese Furniture Design (p.120)
# Chinese Ceramics and Porcelain (陶瓷) (p.120)
# Traditional Chinese Interior Design (p.120)

==Landscapes/Tourism==
# Guilin Landscape (桂林山水) (p.125)
# Zhangjiajie (张家界) (p.125)
# Yellow Mountains (黄山) (p.125)
# West Lake (西湖) (p.125)
# Li River (漓江) (p.125)
# Jiuzhaigou Valley (九寨沟) (p.125)
# Yangtze Three Gorges (长江三峡) (p.125)

==Language==
# Chinese Language: Tones and Characters (p.132)
# Chinese Dialects (方言) (p.132)
# Chinese Idioms and Proverbs (成语) (p.132)
# Chinese Internet Slang (网络用语) (p.132)

==Literature==
# Four Great Classical Novels (四大名著) (p.138)
# Dream of the Red Chamber (红楼梦) (p.138)
# Journey to the West (西游记) (p.138)
# Three Kingdoms (三国演义) (p.138)
# Chinese Poetry: Tang Poetry (唐诗) (p.138)
# Lu Xun and Modern Literature (p.138)
# Chinese Science Fiction (三体) (p.138)

==Martial Arts==
# Chinese Kung Fu (功夫) (p.148)
# Shaolin Temple (少林寺) (p.148)
# Wudang (武当) (p.148)
# Wing Chun (咏春) (p.148)
# Martial Arts in Chinese Cinema (p.148)

==Medicine/TCM==
# Traditional Chinese Medicine (中医) (p.155)
# Acupuncture (针灸) (p.155)
# Chinese Herbal Medicine (中草药) (p.155)
# Yin and Yang in Medicine (p.155)

==Minority Cultures==
# China's 56 Ethnic Groups (p.160)
# Tibetan Culture (藏族文化) (p.160)
# Uyghur Culture (维吾尔族文化) (p.160)
# Miao/Hmong Culture (苗族文化) (p.160)
# Mongolian Culture (蒙古族文化) (p.160)
# Zhuang Culture (壮族文化) (p.160)
# Dai Culture (傣族文化) (p.160)

==Modern Culture==
# Chinese Social Media (WeChat, Weibo, Douyin) (p.168)
# Chinese Film Industry (p.168)
# C-Pop and K-Pop in China (p.168)
# Chinese Animation (动漫) (p.168)
# Chinese Gaming Culture (p.168)

==Money Culture==
# Chinese Currency History (p.175)
# Red Envelopes (红包) (p.175)
# Chinese Business Culture (p.175)

==Music/Instruments==
# Traditional Chinese Music (p.180)
# Guqin (古琴) (p.180)
# Erhu (二胡) (p.180)
# Pipa (琵琶) (p.180)
# Chinese Opera Music (p.180)

==Mythology==
# Chinese Creation Myths (p.188)
# Journey to the West Characters (p.188)
# Chinese Dragons (p.188)
# Moon Goddess Chang'e (嫦娥) (p.188)
# Nezha (哪吒) (p.188)

==National Symbols==
# Chinese Flag and Emblem (p.195)
# National Anthem (义勇军进行曲) (p.195)
# Giant Panda as Symbol (p.195)

==Opera==
# Beijing Opera (京剧) (p.200)
# Kunqu Opera (昆曲) (p.200)
# Cantonese Opera (粤剧) (p.200)
# Sichuan Opera Face Changing (变脸) (p.200)

==Philosophical Schools==
# Daoism/Taoism (道家) (p.205)
# Legalism (法家) (p.205)
# Mohism (墨家) (p.205)
# Buddhism in China (佛教) (p.205)
# Hundred Schools of Thought (百家争鸣) (p.205)

==Religion==
# Buddhism in China (p.212)
# Chinese Folk Religion (民间信仰) (p.212)
# Daoism as Religion (p.212)
# Christianity in China (p.212)
# Islam in China (p.212)

==Science/Technology==
# Four Great Inventions (四大发明) (p.220)
# Ancient Chinese Astronomy (p.220)
# Chinese Mathematics History (p.220)
# Modern Chinese Technology (高铁/5G) (p.220)

==Silk/Porcelain==
# Chinese Silk Production (p.228)
# Jingdezhen Porcelain (景德镇瓷器) (p.228)
# Chinese Lacquerware (漆器) (p.228)

==Silk Road==
# Ancient Silk Road (丝绸之路) (p.232)
# Maritime Silk Road (海上丝绸之路) (p.232)
# Belt and Road Initiative (一带一路) (p.232)

==Social==
# Chinese Family Values (p.237)
# Filial Piety (孝) (p.237)
# Chinese Naming Culture (p.237)
# Chinese Wedding Customs (p.237)
# Guanxi (关系) (p.237)

==Sports==
# Table Tennis in China (p.245)
# Chinese Martial Arts as Sport (p.245)
# 2008/2022 Olympics (p.245)

==Stage Entertainment==
# Chinese Acrobatics (杂技) (p.250)
# Shadow Puppetry (皮影戏) (p.250)
# Chinese Magic/Variety Shows (p.250)

==Traditional Crafts==
# Chinese Knotting (中国结) (p.255)
# Cloisonné (景泰蓝) (p.255)
# Chinese Embroidery (刺绣) (p.255)
# Chinese Woodblock Printing (p.255)
# Sugar Painting (糖画) (p.255)
# Dough Figurines (面塑) (p.255)

==Traditional Cuisine==
# Eight Great Cuisines (八大菜系) (p.262)
# Sichuan Cuisine (川菜) (p.262)
# Cantonese Dim Sum (广式点心) (p.262)
# Peking Duck (北京烤鸭) (p.262)
# Chinese Hot Pot (火锅) (p.262)
# Chinese Dumplings (饺子) (p.262)
# Chinese Street Food (小吃) (p.262)

==Traditional Festivals==
# Spring Festival / Chinese New Year (春节) (p.272)
# Mid-Autumn Festival (中秋节) (p.272)
# Dragon Boat Festival (端午节) (p.272)
# Lantern Festival (元宵节) (p.272)
# Qingming Festival (清明节) (p.272)
# Double Ninth Festival (重阳节) (p.272)

==Westernization==
# Western Influence on Modern China (p.280)
# Chinese Students Abroad (p.280)
# East Meets West in Chinese Culture (p.280)

==Worship==
# Ancestor Worship (祖先崇拜) (p.285)
# Chinese Temple Culture (p.285)
# Incense and Worship Traditions (p.285)

=Semester Paper Topics (choose 1)=

Each student writes one semester paper (~3000 words). You may choose from the reference topics below or propose your own topic.

Below are topics from previous students for inspiration:

==Food & Beverages==
* Anhua Dark Green Tea（安化黑茶）
* Braised Pork Meatballs in Brown Sauce（红烧狮子头）
* Camellia Oil（茶油）
* Changshou Rice Noodles（长寿米粉）
* DUO Jiao Yu Tou（剁椒鱼头）
* Daokou Braised Chicken（道口烧鸡）
* Honghu Lotus Root（洪湖莲藕）
* Hulatang（胡辣汤）
* Jingzhou Fish Cake（荆州鱼糕）
* Jining Bengrou Rice（济宁甏肉干饭）
* Knife-cut Noodles（刀削面）
* Lei Cha（擂茶）
* Luo Yang Water Banquet（洛阳水席）
* Nanchang Rice Noodles and Clay Pot Soup（南昌米粉和瓦罐汤）
* Qifengdu Fish Rice Noodles（栖枫渡鱼粉）
* Shanxi Aged Vinegar（山西醋）
* Shaoyang Rice Noodles
* Sichuan Noodles
* Snack: Malatang（麻辣烫）
* Sour Fish Soup with Litsea Cubeba（木姜子酸汤鱼）
* Sour Plum Drink（酸梅汤）
* Tsingtao Beer（青岛啤酒）
* West Lake Longjing Tea（西湖龙井）
* Wugang Braised Food（武冈卤菜）
* Xiamen Tusun Dong（厦门土笋冻）
* Yanji Cold Noodle（延吉冷面）
* Yellow Tea — Junshan Yinzhen（君山银针）
* Yunan Flower Cake（云南鲜花饼）

==Performance & Music==
* Baishou Dance（摆手舞）
* Huagu Opera（花鼓戏）
* Korean Janggu Dance（朝鲜族长鼓舞）
* Miao Golden Pheasant Dance（苗族锦鸡舞）
* Nanyin Music（南音）
* Ningxiang Shadow Puppets（宁乡皮影戏）
* Nuo Opera（傩戏）
* Qidong Yuguxi（祁东渔鼓戏）
* Shaoyang Glove Puppetry（邵阳布袋木偶戏）
* Xinhua Folk Songs（新化山歌）

==Traditional Crafts & Arts==
* Bai Tie-Dye（白族扎染）
* Chinese Intangible Cultural Heritage – Round Silk Fan（团扇）
* Chinese Paper Offering Art（纸扎艺术）
* Chinese Sugar Painting（中国糖画）
* Chinese traditional instruments Konghou（箜篌）
* Fine Arts: Born of Gautama Buddha（《送子天王图》）
* Ru Porcelain（汝瓷）
* Tahu Paper Cuts（踏虎凿花）
* Three Carvings of Huizhou（徽州三雕）
* Underglaze Five-Color Porcelain（釉下五彩瓷）
* Wuhu Iron Painting（芜湖铁画）
* Xiang Embroidery（湘绣）
* Yi Embroidery（彝绣）

==Heritage Sites & Landmarks==
* Emperor Shun's Mausoleum in Jiuyi Mountain（九嶷山舜帝陵）
* Fengdu Ghost City（丰都鬼城）
* Fenghuang Ancient Town（凤凰古城）
* Leshan Giant Buddha
* Longmen Grottoes（龙门石窟）
* Loulan Ancient City（楼兰古城）
* Sanqing Mountain（三清山）
* The Foremost Cliff Inscriptions Site — WuXi Forest of Steles（浯溪碑林）
* Wuyi Mountain（武夷山）
* Xijiang Qianhu Miao Village（西江千户苗寨）

==Festivals & Customs==
* Guangxi's Zhuang March 3rd Festival（广西壮族三月三）
* Harbin International Ice and Snow Festival（哈尔滨国际冰雪节）
* Lantern Riddles（灯谜）
* Public Memorial Ceremony at the Emperor Yan Mausoleum（炎帝陵公祭）
* Temple Fair（庙会）
* The Modern Value of Yi People's Torch Festival（彝族火把节的当代价值）
* Water-Splashing Festival（泼水节）
* Zhuang Ethnic Minority Third Day of the Third Lunar Month（壮族三月三）

==Ethnic Minorities==
* Dish-Serving Dance of Yi Ethnic Group in Nanjian（南涧彝族跳菜）
* The Black Rice of the Miao Ethnic Group（苗族黑米饭）
* The Li Ethnic Group: Tiao Niang Dance（黎族跳娘舞）
* The Mosuo People（摩梭人）
* Tibetan Culture（藏族文化）
* Xilankapu: Traditional Tujia Brocade from Enshi（湖北恩施土家族西兰卡普织锦）

==Games & Popular Culture==
* Blind Box（盲盒）
* Chinese Cultivation Games（中国修仙游戏）
* Chinese Style Game: Jiangnan Peekaboo（江南百景图）
* Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Hunan Tongguan Studio Short Drama Film and Television City（湖南铜官竖店短剧影视城）
* Myers-Briggs Type Indicator（迈尔斯-布里格斯类型指标）
* Study on the Cultural Connotation and Modern Value of the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

==Language & Clothing==
* Changsha Dialect（长沙方言）
* Chinese Sachets（中国香囊）
* Clothing: Chinese Hanfu（汉服）
* Quanzhou Zanhua (Hairpin Flower Adornment)（泉州簪花）

==Science, Technology & Martial Arts==
* Chinese intangible cultural heritage - Liuyang Fireworks
* Datiehua (Iron Fireworks)（打铁花）
* Irrigation System: Dujiangyan in Cheng Du（成都都江堰）
* Rucheng Incense Dragon（汝城香火龙）
* Shaolin Kongfu（少林功夫）
* TCM Health Preservation - Dietary Therapy（中医养生——食疗）

==Literature & Scholarship==
* Jujube Cake（酸枣糕）
* Redology: the study of Dream of the Red Chamber（红学）
* Seven Sages of Bamboo Grove（竹林七贤）
* The Four Treasures of the Study
* The Presumably Earliest City in China - Chengtoushan（中国最早的城市-城头山）
* The Quest for Love of Lao Lee（老舍《离婚》）
* Yongle Encyclopedia（《永乐大典》）

==Architecture==
* Huizhou Architecture（徽派建筑）

==Cultural Symbols & Traditions==
* Symbols of Traditional Chinese Culture: Loong and Fenghuang（龙和凤）
* The Disappearing Chongqing "Bang Bang"
* The Eight Oddities of Shaanxi（陕西八大怪）
* The Nuo Culture of Jiangxi（赣傩文化）
* The Peach Blossom Spring (Taohuayuan): From Literary Utopia to Cultural Symbol of Changde（常德桃花源）
* Traditional Chinese Cultural Symbol: Liuchi Alley（六尺巷）
* Yueyang Tianshi Dance（岳阳天狮舞）
* Yulin Invitation（玉麟相邀/衡阳土头碗）
* Yuanling Shailan Meat（沅陵晒兰肉）
* Yongzhou Blood Duck（永州血鸭）

[[Category:Courses]]
[[Category:Spring 2026]]

Overview on Chinese Culture Spring 2026

2026-03-19T03:37:54Z

Root:

== Overview on Chinese Culture — Spring 2026 ==
=== Presentation Schedule ===

{| class="wikitable sortable" style="width:100%"
|-
! Date !! Topic !! Student !! 中文名
|-
| rowspan="4" | '''2026-03-19''' || Buytogether / PDD（拼多多） || Cao Shiqin || 曹诗琴
|-
| Chinese Ancient Weapons || Chen Shuanglin || 陈双麟
|-
| Northeastern Chinese Cuisine（东北菜） || Cai Lanying || 蔡蓝颖
|-
| Relegation Literature (Su Shi) || Cao Hefeng || 曹河丰
|-
| rowspan="3" | '''2026-03-26''' || Calendar, The 24 Solar Terms || Hao Yuan || 郝圆
|-
| Panda-Kultur || Dina || 迪娜·代买克
|-
| Traditional Chinese Dance || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-04-02''' || Hotpot || Huang Ruguo || 黄如果
|-
| Mahjong || Hu Xinyin || 胡馨尹
|-
| rowspan="3" | '''2026-04-09''' || Mobile Games（手游） || Qin Shangyi || 秦尚易
|-
| Tea || Peng Yilin || 彭熠琳
|-
| The Four Pillars of Destiny（八字） || Li Sicheng || 李思成
|-
| rowspan="3" | '''2026-04-16''' || Hunan Rice Noodles（湖南米粉） || Wu Shengqiu || 伍胜球
|-
| Milk Tea || Xiang Jiaying || 向佳滢
|-
| Stand-up comedy（单口喜剧） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-04-23''' || Calligraphy || Zhang Zihan || 张子涵
|-
| Chinese Clothing || Zhang Ning || 张宁
|-
| Jiangxi Cuisine（赣菜） || Yang Shixuan || 杨诗萱
|-
| Zhang Qian and the Silk Road || Zeng Yongqi || 曾咏琪
|-
| rowspan="1" | '''2026-04-30''' || Cheongsam || Zhou Yingwei || 周颖微
|-
| rowspan="3" | '''2026-05-07''' || Chinese Dreamcore（中式梦核） || Cao Hefeng || 曹河丰
|-
| Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua || Cao Yian || 曹亦桉
|-
| God of Wealth（财神） || Cao Shiqin || 曹诗琴
|-
| rowspan="3" | '''2026-05-14''' || China's Four Great Classical Novels || Dina || 迪娜·代买克
|-
| Luosifen || Hao Yuan || 郝圆
|-
| Vintage Clothing || Cui Xinyan || 崔心彦
|-
| rowspan="2" | '''2026-05-21''' || Guangdong Morning Tea Culture（广东早茶文化） || Huang Ruguo || 黄如果
|-
| The Story of Ming Lan（知否知否应是绿肥红瘦） || Hu Xinyin || 胡馨尹
|-
| rowspan="2" | '''2026-05-28''' || Danmu（弹幕） || Qin Shangyi || 秦尚易
|-
| Peking Opera || Peng Yilin || 彭熠琳
|-
| rowspan="3" | '''2026-06-04''' || Black Myth: Wukong（黑神话悟空） || Wu Shengqiu || 伍胜球
|-
| Table Manners || Xiang Jiaying || 向佳滢
|-
| Traditional Chinese Pigments（中国传统颜料） || Shen Yike || 申奕珂
|-
| rowspan="4" | '''2026-06-11''' || Eight Major Cuisines of China || Zeng Yongqi || 曾咏琪
|-
| The Four Talented Women of Ancient China || Zhang Ning || 张宁
|-
| The Legend of Zhen Huan（甄嬛传） || Zhang Zihan || 张子涵
|-
| The Yingge Dance（英歌舞） || Yang Shixuan || 杨诗萱
|-
| rowspan="1" | '''2026-06-18''' || Facial Make-up || Zhou Yingwei || 周颖微
|}

=== Unscheduled Topics ===

{| class="wikitable"
|-
! Topic !! Student !! 中文名
|-
| Ancient Chinese Education || Shen Weibing || 申伟兵
|-
| Braised Chicken Rice（黄焖鸡米饭） || Huang Yiyue || 黄梓玥
|-
| Chinese popular viral memes（中国网络热梗） || Cao Yian || 曹亦桉
|-
| Harbin Ice and Snow World（冰雪大世界） || Cai Lanying || 蔡蓝颖
|-
| Modern Chinese Education System || Shen Weibing || 申伟兵
|-
| Shandong cuisine（鲁菜） || Ma Qing || 马晴
|-
| Spring Festival Couplets || Huang Yiyue || 黄梓玥
|-
| Sunzi's Art of War（孙子兵法） || Li Sicheng || 李思成
|-
| Tsingtao Beer（青岛啤酒） || Ma Qing || 马晴
|-
| Yongzhou Blood Duck (永州血鸭) || Chen Shuanglin || 陈双麟
|-
| Currency, Jiaozi (Paper Currency in Northern Song) || ''(not assigned)'' ||
|-
| Yueyang Tianshi Dance（岳阳天狮舞） || ''(not assigned)'' ||
|}

=== Notes ===
* Each student presents '''twice''' during the semester (Round 1: March–April, Round 2: May–June)
* Presentations are 10–15 minutes each, followed by Q&A
* Students can change their topic or reschedule via the [https://dcg.de/ai/uni/ course portal]
* Minimum 4 presentations per session preferred — some weeks are currently underbooked

''Last updated: 2026-03-19''

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-03-16T12:05:47Z

Root:

'''Welcome to Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler

'''Schedule:''' Thursday 16:30-18:10

'''Location:''' Tenglong Building Room 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Click here for the interactive course page] (topic selection, quizzes, file upload)

==Grading Criteria for Powerpoint Presentations==
#In this course, each powerpoint presentation should not exceed 15 minutes including the interactive part with the fellow students.
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

=Session 1 - Thu Mar 05 16:30-18:10 Room 409 - Organizational Issues=

==What we learn==
* Overview of the course structure
* Introduction to Chinese culture studies
* How to choose presentation topics (each student picks 2 topics)
* Semester paper guidelines

==Textbook==
* ''Overview of Chinese Culture'' (中国文化概要)

==Homework before Session 2==
* Choose 2 presentation topics from the list below (via [https://dcg.de/ai/uni/intro_chinese_culture.php course website])
* Read Chapter 1 of the textbook

=Presentation Topics (choose 2)=

Each student must select '''2 presentation topics''' and prepare a '''15-minutes PowerPoint presentation''' for each.

Please use the [https://dcg.de/ai/uni/intro_chinese_culture.php interactive course page] to select your topics. Below is the complete list organized by category.

==Geography==
# Geographic Nature as a Basis for Cultural Development (p.17)
# Great Wall (长城) (p.17)
# Grand Canal (京杭大运河) (p.17)

==Aesthetic Ideals==
# Standards of Beauty in Ancient China (p.25)
# Foot Binding (缠足) (p.25)
# Chinese Aesthetics in Modern Fashion (p.25)

==Animals==
# Dragon (龙) and Phoenix (凤) Symbolism (p.27)
# Panda as National Symbol (p.27)
# Animals in Chinese Mythology (p.27)
# Chinese Zodiac Animals (十二生肖) (p.27)

==Architecture==
# The Forbidden City (故宫) (p.32)
# Traditional Courtyard Houses (四合院) (p.32)
# Chinese Pagodas (塔) (p.32)
# Temple Architecture (寺庙建筑) (p.32)
# Modern Chinese Architecture (p.32)
# Tulou (Hakka Earth Buildings) (土楼) (p.32)
# Chinese Bridges (桥) (p.32)

==Army/Weapons==
# Terracotta Army (兵马俑) (p.40)
# Ancient Chinese Weapons (p.40)
# Sun Tzu's Art of War (孙子兵法) (p.40)

==Astrology==
# Chinese Zodiac (生肖) (p.44)
# Chinese Calendar System (农历) (p.44)
# Feng Shui (风水) (p.44)
# I Ching / Book of Changes (易经) (p.44)

==Beverages==
# Tea Culture (茶文化) (p.48)
# Chinese Tea Ceremony (p.48)
# Types of Chinese Tea (绿茶/红茶/乌龙茶) (p.48)
# Chinese Wine Culture (酒文化) (p.48)
# Baijiu (白酒) (p.48)

==Body Movement==
# Tai Chi (太极拳) (p.55)
# Qigong (气功) (p.55)
# Chinese Dance Traditions (p.55)

==Chinese Writing==
# Chinese Calligraphy (书法) (p.60)
# Evolution of Chinese Characters (p.60)
# Seal Carving (篆刻) (p.60)
# Four Treasures of the Study (文房四宝) (p.60)

==Clothing==
# Hanfu (汉服) (p.65)
# Qipao/Cheongsam (旗袍) (p.65)
# Traditional Chinese Clothing through Dynasties (p.65)
# Chinese Silk and Embroidery (p.65)

==Confucianism==
# Confucius and His Teachings (p.72)
# The Analerta (论语) (p.72)
# Neo-Confucianism (p.72)
# Confucianism in Modern Chinese Society (p.72)
# Confucian Education System (p.72)
# Five Relationships (五伦) (p.72)

==Economy==
# Silk Road and Ancient Trade (p.80)
# Modern Chinese Economic Development (p.80)
# Chinese E-Commerce (电商) (p.80)

==Education==
# Imperial Examination System (科举) (p.85)
# Chinese Education Today (p.85)
# Gaokao (高考) (p.85)
# Chinese Study Abroad Culture (p.85)

==Facial Make-up==
# Beijing Opera Face Painting (脸谱) (p.90)

==Fine Arts==
# Chinese Painting (国画) (p.92)
# Chinese Landscape Painting (山水画) (p.92)
# Ink Wash Painting (水墨画) (p.92)
# Chinese Paper Cutting (剪纸) (p.92)
# Chinese Porcelain Art (p.92)
# Chinese Jade Carving (玉雕) (p.92)

==Games==
# Mahjong (麻将) (p.100)
# Chinese Chess (象棋) (p.100)
# Go/Weiqi (围棋) (p.100)
# Kite Flying (风筝) (p.100)

==Garden Culture==
# Classical Chinese Gardens (古典园林) (p.105)
# Suzhou Gardens (苏州园林) (p.105)
# Bonsai/Penjing (盆景) (p.105)

==Gender/History==
# Women in Chinese History (p.110)
# Famous Chinese Empresses (p.110)
# Gender Roles in Traditional China (p.110)

==Heritage Sites==
# UNESCO World Heritage Sites in China (p.115)
# Dunhuang Mogao Caves (莫高窟) (p.115)
# The Summer Palace (颐和园) (p.115)
# Mount Tai (泰山) (p.115)

==Interieur==
# Chinese Furniture Design (p.120)
# Chinese Ceramics and Porcelain (陶瓷) (p.120)
# Traditional Chinese Interior Design (p.120)

==Landscapes/Tourism==
# Guilin Landscape (桂林山水) (p.125)
# Zhangjiajie (张家界) (p.125)
# Yellow Mountains (黄山) (p.125)
# West Lake (西湖) (p.125)
# Li River (漓江) (p.125)
# Jiuzhaigou Valley (九寨沟) (p.125)
# Yangtze Three Gorges (长江三峡) (p.125)

==Language==
# Chinese Language: Tones and Characters (p.132)
# Chinese Dialects (方言) (p.132)
# Chinese Idioms and Proverbs (成语) (p.132)
# Chinese Internet Slang (网络用语) (p.132)

==Literature==
# Four Great Classical Novels (四大名著) (p.138)
# Dream of the Red Chamber (红楼梦) (p.138)
# Journey to the West (西游记) (p.138)
# Three Kingdoms (三国演义) (p.138)
# Chinese Poetry: Tang Poetry (唐诗) (p.138)
# Lu Xun and Modern Literature (p.138)
# Chinese Science Fiction (三体) (p.138)

==Martial Arts==
# Chinese Kung Fu (功夫) (p.148)
# Shaolin Temple (少林寺) (p.148)
# Wudang (武当) (p.148)
# Wing Chun (咏春) (p.148)
# Martial Arts in Chinese Cinema (p.148)

==Medicine/TCM==
# Traditional Chinese Medicine (中医) (p.155)
# Acupuncture (针灸) (p.155)
# Chinese Herbal Medicine (中草药) (p.155)
# Yin and Yang in Medicine (p.155)

==Minority Cultures==
# China's 56 Ethnic Groups (p.160)
# Tibetan Culture (藏族文化) (p.160)
# Uyghur Culture (维吾尔族文化) (p.160)
# Miao/Hmong Culture (苗族文化) (p.160)
# Mongolian Culture (蒙古族文化) (p.160)
# Zhuang Culture (壮族文化) (p.160)
# Dai Culture (傣族文化) (p.160)

==Modern Culture==
# Chinese Social Media (WeChat, Weibo, Douyin) (p.168)
# Chinese Film Industry (p.168)
# C-Pop and K-Pop in China (p.168)
# Chinese Animation (动漫) (p.168)
# Chinese Gaming Culture (p.168)

==Money Culture==
# Chinese Currency History (p.175)
# Red Envelopes (红包) (p.175)
# Chinese Business Culture (p.175)

==Music/Instruments==
# Traditional Chinese Music (p.180)
# Guqin (古琴) (p.180)
# Erhu (二胡) (p.180)
# Pipa (琵琶) (p.180)
# Chinese Opera Music (p.180)

==Mythology==
# Chinese Creation Myths (p.188)
# Journey to the West Characters (p.188)
# Chinese Dragons (p.188)
# Moon Goddess Chang'e (嫦娥) (p.188)
# Nezha (哪吒) (p.188)

==National Symbols==
# Chinese Flag and Emblem (p.195)
# National Anthem (义勇军进行曲) (p.195)
# Giant Panda as Symbol (p.195)

==Opera==
# Beijing Opera (京剧) (p.200)
# Kunqu Opera (昆曲) (p.200)
# Cantonese Opera (粤剧) (p.200)
# Sichuan Opera Face Changing (变脸) (p.200)

==Philosophical Schools==
# Daoism/Taoism (道家) (p.205)
# Legalism (法家) (p.205)
# Mohism (墨家) (p.205)
# Buddhism in China (佛教) (p.205)
# Hundred Schools of Thought (百家争鸣) (p.205)

==Religion==
# Buddhism in China (p.212)
# Chinese Folk Religion (民间信仰) (p.212)
# Daoism as Religion (p.212)
# Christianity in China (p.212)
# Islam in China (p.212)

==Science/Technology==
# Four Great Inventions (四大发明) (p.220)
# Ancient Chinese Astronomy (p.220)
# Chinese Mathematics History (p.220)
# Modern Chinese Technology (高铁/5G) (p.220)

==Silk/Porcelain==
# Chinese Silk Production (p.228)
# Jingdezhen Porcelain (景德镇瓷器) (p.228)
# Chinese Lacquerware (漆器) (p.228)

==Silk Road==
# Ancient Silk Road (丝绸之路) (p.232)
# Maritime Silk Road (海上丝绸之路) (p.232)
# Belt and Road Initiative (一带一路) (p.232)

==Social==
# Chinese Family Values (p.237)
# Filial Piety (孝) (p.237)
# Chinese Naming Culture (p.237)
# Chinese Wedding Customs (p.237)
# Guanxi (关系) (p.237)

==Sports==
# Table Tennis in China (p.245)
# Chinese Martial Arts as Sport (p.245)
# 2008/2022 Olympics (p.245)

==Stage Entertainment==
# Chinese Acrobatics (杂技) (p.250)
# Shadow Puppetry (皮影戏) (p.250)
# Chinese Magic/Variety Shows (p.250)

==Traditional Crafts==
# Chinese Knotting (中国结) (p.255)
# Cloisonné (景泰蓝) (p.255)
# Chinese Embroidery (刺绣) (p.255)
# Chinese Woodblock Printing (p.255)
# Sugar Painting (糖画) (p.255)
# Dough Figurines (面塑) (p.255)

==Traditional Cuisine==
# Eight Great Cuisines (八大菜系) (p.262)
# Sichuan Cuisine (川菜) (p.262)
# Cantonese Dim Sum (广式点心) (p.262)
# Peking Duck (北京烤鸭) (p.262)
# Chinese Hot Pot (火锅) (p.262)
# Chinese Dumplings (饺子) (p.262)
# Chinese Street Food (小吃) (p.262)

==Traditional Festivals==
# Spring Festival / Chinese New Year (春节) (p.272)
# Mid-Autumn Festival (中秋节) (p.272)
# Dragon Boat Festival (端午节) (p.272)
# Lantern Festival (元宵节) (p.272)
# Qingming Festival (清明节) (p.272)
# Double Ninth Festival (重阳节) (p.272)

==Westernization==
# Western Influence on Modern China (p.280)
# Chinese Students Abroad (p.280)
# East Meets West in Chinese Culture (p.280)

==Worship==
# Ancestor Worship (祖先崇拜) (p.285)
# Chinese Temple Culture (p.285)
# Incense and Worship Traditions (p.285)

=Semester Paper Topics (choose 1)=

Each student writes one semester paper (~3000 words). You may choose from the reference topics below or propose your own topic.

Below are topics from previous students for inspiration:

==Food & Beverages==
* Anhua Dark Green Tea（安化黑茶）
* Braised Pork Meatballs in Brown Sauce（红烧狮子头）
* Camellia Oil（茶油）
* Changshou Rice Noodles（长寿米粉）
* DUO Jiao Yu Tou（剁椒鱼头）
* Daokou Braised Chicken（道口烧鸡）
* Honghu Lotus Root（洪湖莲藕）
* Hulatang（胡辣汤）
* Jingzhou Fish Cake（荆州鱼糕）
* Jining Bengrou Rice（济宁甏肉干饭）
* Knife-cut Noodles（刀削面）
* Lei Cha（擂茶）
* Luo Yang Water Banquet（洛阳水席）
* Nanchang Rice Noodles and Clay Pot Soup（南昌米粉和瓦罐汤）
* Qifengdu Fish Rice Noodles（栖枫渡鱼粉）
* Shanxi Aged Vinegar（山西醋）
* Shaoyang Rice Noodles
* Sichuan Noodles
* Snack: Malatang（麻辣烫）
* Sour Fish Soup with Litsea Cubeba（木姜子酸汤鱼）
* Sour Plum Drink（酸梅汤）
* Tsingtao Beer（青岛啤酒）
* West Lake Longjing Tea（西湖龙井）
* Wugang Braised Food（武冈卤菜）
* Xiamen Tusun Dong（厦门土笋冻）
* Yanji Cold Noodle（延吉冷面）
* Yellow Tea — Junshan Yinzhen（君山银针）
* Yunan Flower Cake（云南鲜花饼）

==Performance & Music==
* Baishou Dance（摆手舞）
* Huagu Opera（花鼓戏）
* Korean Janggu Dance（朝鲜族长鼓舞）
* Miao Golden Pheasant Dance（苗族锦鸡舞）
* Nanyin Music（南音）
* Ningxiang Shadow Puppets（宁乡皮影戏）
* Nuo Opera（傩戏）
* Qidong Yuguxi（祁东渔鼓戏）
* Shaoyang Glove Puppetry（邵阳布袋木偶戏）
* Xinhua Folk Songs（新化山歌）

==Traditional Crafts & Arts==
* Bai Tie-Dye（白族扎染）
* Chinese Intangible Cultural Heritage – Round Silk Fan（团扇）
* Chinese Paper Offering Art（纸扎艺术）
* Chinese Sugar Painting（中国糖画）
* Chinese traditional instruments Konghou（箜篌）
* Fine Arts: Born of Gautama Buddha（《送子天王图》）
* Ru Porcelain（汝瓷）
* Tahu Paper Cuts（踏虎凿花）
* Three Carvings of Huizhou（徽州三雕）
* Underglaze Five-Color Porcelain（釉下五彩瓷）
* Wuhu Iron Painting（芜湖铁画）
* Xiang Embroidery（湘绣）
* Yi Embroidery（彝绣）

==Heritage Sites & Landmarks==
* Emperor Shun's Mausoleum in Jiuyi Mountain（九嶷山舜帝陵）
* Fengdu Ghost City（丰都鬼城）
* Fenghuang Ancient Town（凤凰古城）
* Leshan Giant Buddha
* Longmen Grottoes（龙门石窟）
* Loulan Ancient City（楼兰古城）
* Sanqing Mountain（三清山）
* The Foremost Cliff Inscriptions Site — WuXi Forest of Steles（浯溪碑林）
* Wuyi Mountain（武夷山）
* Xijiang Qianhu Miao Village（西江千户苗寨）

==Festivals & Customs==
* Guangxi's Zhuang March 3rd Festival（广西壮族三月三）
* Harbin International Ice and Snow Festival（哈尔滨国际冰雪节）
* Lantern Riddles（灯谜）
* Public Memorial Ceremony at the Emperor Yan Mausoleum（炎帝陵公祭）
* Temple Fair（庙会）
* The Modern Value of Yi People's Torch Festival（彝族火把节的当代价值）
* Water-Splashing Festival（泼水节）
* Zhuang Ethnic Minority Third Day of the Third Lunar Month（壮族三月三）

==Ethnic Minorities==
* Dish-Serving Dance of Yi Ethnic Group in Nanjian（南涧彝族跳菜）
* The Black Rice of the Miao Ethnic Group（苗族黑米饭）
* The Li Ethnic Group: Tiao Niang Dance（黎族跳娘舞）
* The Mosuo People（摩梭人）
* Tibetan Culture（藏族文化）
* Xilankapu: Traditional Tujia Brocade from Enshi（湖北恩施土家族西兰卡普织锦）

==Games & Popular Culture==
* Blind Box（盲盒）
* Chinese Cultivation Games（中国修仙游戏）
* Chinese Style Game: Jiangnan Peekaboo（江南百景图）
* Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Hunan Tongguan Studio Short Drama Film and Television City（湖南铜官竖店短剧影视城）
* Myers-Briggs Type Indicator（迈尔斯-布里格斯类型指标）
* Study on the Cultural Connotation and Modern Value of the Chinese Zodiac（十二生肖的文化内涵及现代价值研究）

==Language & Clothing==
* Changsha Dialect（长沙方言）
* Chinese Sachets（中国香囊）
* Clothing: Chinese Hanfu（汉服）
* Quanzhou Zanhua (Hairpin Flower Adornment)（泉州簪花）

==Science, Technology & Martial Arts==
* Chinese intangible cultural heritage - Liuyang Fireworks
* Datiehua (Iron Fireworks)（打铁花）
* Irrigation System: Dujiangyan in Cheng Du（成都都江堰）
* Rucheng Incense Dragon（汝城香火龙）
* Shaolin Kongfu（少林功夫）
* TCM Health Preservation - Dietary Therapy（中医养生——食疗）

==Literature & Scholarship==
* Jujube Cake（酸枣糕）
* Redology: the study of Dream of the Red Chamber（红学）
* Seven Sages of Bamboo Grove（竹林七贤）
* The Four Treasures of the Study
* The Presumably Earliest City in China - Chengtoushan（中国最早的城市-城头山）
* The Quest for Love of Lao Lee（老舍《离婚》）
* Yongle Encyclopedia（《永乐大典》）

==Architecture==
* Huizhou Architecture（徽派建筑）

==Cultural Symbols & Traditions==
* Symbols of Traditional Chinese Culture: Loong and Fenghuang（龙和凤）
* The Disappearing Chongqing "Bang Bang"
* The Eight Oddities of Shaanxi（陕西八大怪）
* The Nuo Culture of Jiangxi（赣傩文化）
* The Peach Blossom Spring (Taohuayuan): From Literary Utopia to Cultural Symbol of Changde（常德桃花源）
* Traditional Chinese Cultural Symbol: Liuchi Alley（六尺巷）
* Yueyang Tianshi Dance（岳阳天狮舞）
* Yulin Invitation（玉麟相邀/衡阳土头碗）
* Yuanling Shailan Meat（沅陵晒兰肉）
* Yongzhou Blood Duck（永州血鸭）

[[Category:Courses]]
[[Category:Spring 2026]]

Overview on Chinese Culture Spring 2026

2026-03-16T11:56:08Z

Root:

User:Lv Ping

2026-03-09T16:24:29Z

Root:

==About me==

My name is 吕萍 (Lv Ping).

==Final Exam Paper==

Topic: '''Chinese Traditional Instruments Konghou（箜篌）'''

==The Konghou — A Heavenly Sound Across Time==

===Introduction===

Just hearing the name Konghou is a sense like an echo walking out of the depths of historical times. Comparatively speaking, it is a niche instrument, one with which the general public is not familiar. It is like a peerless master of the martial arts that has been secluded from the world for years and always have an unspeakable sense of mystery. Perhaps it is fulfilling the verse: "This tune should only exist in the heavens; how many times can one hear it in the mortal world?" (a well-known line by the Tang Dynasty poet Du Fu, praising music so divine it looks like it is coming from another world). Rare in that case, so rare it seems all the more precious.

===The Past and Present of the Konghou — Origins and Flourishing===

The Konghou (also known as Kanhou) is a traditional ancient plucked string instrument. It originated in Persia and flourished in the Han and Tang Dynasties, which was mainly used in courtly Yayue (solemn ceremonial music used in rituals made by the emperor) and the accompaniment of "Ten Musical Departments" (the official classification for the styles of music and dance during the Tang Dynasty). Its timbre is clear, elegant, swaying and it presents a history of ancient Chinese palace music. It endows the listener to visualize the scenes of ancient court performances against the celestial sounds, as if to follow the ethereal melody to the Tiangong (the Heavenly Palace, the abode of deities in the Chinese mythology). Auditory experience of supreme fantasy and beauty, it possesses high level aesthetic, which other instruments cannot blame.

In the Han and Tang Dynasties, the Konghou was an instrument of the emperor. Because it was widely used to accompany grand court music, the performance techniques developed fast and reached a high standard, which was deeply favored by the emperors and generals. Li ping, a musician of Tang dynasty's "Pear Garden" (the first royal academy of music and acting set up by the Tang dynasty's Emperor Xuanzong), was an expert on this instrument. The Emperor called him every day and his renown was far more than the most famous musician of the time, Li Guinian.

The poet Li He once wrote in his Song of Li Ping's Konghou:
"There is a translation in more natural accessible English but keeping the flow smooth. The cultural references are explained by way of parentheses as requested.
Autumn night, he plays exquisite konghou harp. It is made from the Wu silk and Shu wood (materials from regions with historical fame for the finest quality of goods). Upon hearing the beautiful melody, the white clouds over the mountains stop drifting for the very purpose of listening.
The River Goddesses weep their tears, staining the bamboo (referring to the legend whereby the tears of two grieving queens created spotted bamboo), and the White Maiden of the Sky is being filled with sorrow. So where is this incredible music coming from? It is musician Li ping playing in the capital.
The sound is quite, similar to fine jade from the Mount Kunlun shattering (mythical mountain said to be the source of the best jade) or the call of a phoenix. Then it changes - sometimes sad as a lotus flower weeping in the dew, sometimes happy as an orchid laughing in the breeze.
The music is the one that melts the cold moonlight that covers the entire city of Chang'an. With each movement of the strings (which here implies the strung strings of a musical instrument), even the heart of the Emperor (which here implies the supreme Ruler of Heaven) is moved.
The powerful sound goes straight up to the sky, arriving at the place where Nvwa used to repair the sky with five-colored stones (referring to the goddess who patched a hole in the sky with five-colored stones at the time of the creation). It is as though those stones have been shattered by the sound and a ceaseless autumn rain is being released.
In trance as if in a dream, the musician appears to make his way to the Spirit Mountain to instruct the goddesses in his art. The old fishes in the lake leap from the waves in excitement, and the dragons in the deep pools dance for joy.
On the moon, Wu scared so that he forgets to sleep, lingers all night until it's time to wake up by the cassia tree (referring to the man in the folklore who was punished to endlessly chop a tree on the moon). The falling dew soaked Jade Rabbit (mythical rabbit that lives on the moon) as it listens with all its focus."

Li He used multiple symbols and metaphors to display musical artistic world made by the performer to hugely redo Li Ping superb skill. This speaks of how highly cultivated as an author he was, and free to use his imagination, which is brimming with the colors of the romanticism.

===Structural Types — Three Forms of the Konghou===

Structurally speaking, there were three kinds of the Konghou of the ancient Chinese times: the Vertical Konghou, the Horizontal Konghou, and the Phoenix-headed Konghou. The Vertical Konghou evolved from the bows that the ancient hunters used, and its appearance corresponds to the advancement of human civilisation. The Phoenix-headed Konghou is similar to the vertical one except that it has the phoenix head decoration on the neck, which is to emphasize the wealthy and aristocratic temperament of the royal family. The Vertical Konghou was introduced to China from Persia by Han Dynasty and has a common origin with the Western harp, but only with a difference in name, however, in modern times, "harp" specifically means the Western concert harp.

The Horizontal Konghou has the same origin as the Guqin (a seven-stringed zither that is the instrument of the scholar). Its soundboard is fretted and it is plucked or struck using a bamboo pick. It is a traditional music instrument of the Han people and has been hailed as the "Orthodox Sound of Huaxia" (the pure, traditional music of the Han Chinese civilization), and listed in the Qingshang Music (a genre of traditional music popular in the Three Kingdoms and Southern Dynasties). The Horizontal Konghou was brought to Korea during the Tang Dynasty and after it was transmitted and modified it became the Geomungo (Black Zither).

===Decline and Loss — The Silence After the Song Dynasty===

The reason for why the Konghou is unknown to the modern people is that after the Song Dynasty, "vulgar" urban folk music had become the cultural mainstream. As courtly yayue went in decline, fewer people played the Konghou. Eventually, it was replaced by similar instruments such as the Guzheng and Guqin, and was eventually lost from the folk tradition. Later generations could only see the design of the Konghou from murals and sculptures.

Whether it was the ancient native horizontal konghou or the imported vertical and arched versions, their emergence, development, and their extinction were natural changes in the course of Chinese history and a result of selective intake in Chinese music. The same thing can be said of the modern revival and reform of the konghou. It can be said its fate lies not only on the qualitative evolution of the instrument itself and its culture depth, but also on the future aesthetic trend of Chinese music.

===Modern Revival — Innovation and Reconstruction===

The modern Konghou is a new type of instrument developed by the combination of Western harp and Guzheng. The reformed Konghou has double row strings, while the Western harp has one row; it is the most intuitive visual difference. In terms of technique of performance, Konghou expands on the techniques of harp but combines them with techniques common used in playing the Guzheng, such as pressing the strings and vibrato. This makes the instrument boisterous and motivates changes in musical charm. The double-row structure meant the left hand and the right hand were able to perform the melody in turn, or that one hand is playing the melody while the other is accompaniment. There is also the ability of both hands to play melodies at the same time without interference, which enhances the function of harmony and polyphony.

While modern Konghou technique is much borrowed from Guzheng, the difference is in their nature: Guzheng is a horizontal string instrument with fake fingernails which produces a mellow tone like a quiet, elegant and reserved lotus pond; Konghou is a vertical string instrument which has fingertips to produce an ethereal sound like spring water which is clear and bright. Surprisingly, when a performer is using Guzheng techniques, the Konghou appears to become an incarnation of the Guzheng, incorporating its musical symbols.

===Masters and Masterpieces — Cui Junzhi and Artistic Inheritance===

===="The National Master of Konghou" -- Cui Junzhi====

Cui Junzhi learned how to play the instrument at China Conservatory of Music in the 1960s. After graduation while employed in an opera and dance theater, she learned perfection of the harp. In 1979, she joined the research work to reform Konghou, she devoted herself to the study and innovation of playing techniques of Konghou. Since the instrument has been lost for so long, no one at the time knew how to play it. She could only rely on her individual musicological knowledge and performance experience and researched and actively explored. She digested the spirit of ancient instruments such as the harp, Guzheng and Pipa to perfect the skills.

While deep studying Konghou techniques, she read a huge amount of ancient poetry and song, and extracted the cultural depth and historical value of the instrument to obtain nourishment and creative inspiration. She finally developed the playing techniques and methods for the modern Konghou, and became the first female Konghou performer in China in modern times, to the extent of being hailed as the "National Master of Konghou". Currently, Cui Junzhi lives abroad, is dedicated to Konghou performance, composition, teaching and theoretical research. Her representative works are Qingming Shanghe Tu (a musical interpretation of the famous scroll painting "Along the River During the Qingming Festival"), Lianpu (Facial Makeup, referring to the colorful masks of Beijing Opera) and Xiang Fei Zhu (Speckled Bamboo). To remember her years of promoting traditional Chinese culture, the city of Milpitas, USA, named November 1st of each year "Chinese Konghou Day." This is both an affirmation of Cui Junzhi's artistic career and also recognition of traditional Chinese culture.

====Xiang Fei Zhu (Speckled Bamboo)====

Xiang Fei Zhu was written and played by the principal Konghou player in the world, Cui Junzhi. The piece draws material from Xiang Fei Di Lei Xiang concubines shedding tears, a part of the Pipa siku Sai Shang On the Frontier. The all piece is as elegant and soft as the floating clouds and the flowing water, which is a beautiful artistic conception of the speckled bamboo dancing by the Lake Dongting after rain. It sings the praises of the noble moral integrity of the bamboo.

The background of the title refers to a legend: The speckled bamboo is said to have gotten its spots from the tears of the Xiang River Goddesses weeping for their dead husband, the legendary Emperor Shun.

The unusual plucking of the Konghou resembles dense fine rain falling down from the sky, dinging and donging on the bamboo leaves. The non-stop rhythm of the staccato is like the wind passing through and causing the leaves of the bamboo to wobble gently and sprinkle water droplets on the ground, forming layers of ripples. Harmonics flash from time to time, misty and transparent . . . With a great ability to perform, Cui Junzhi perfectly embodied this once-lost instrument, and it was as though it "enumerate Phoenix Nirvana" (a metaphor for the mythical bird that burns itself to death and rises reborn from the ashes), which made the Konghou continue to exert its infinite charm on the modern stage.

Its beauty is neither the dazzling Yunjin (Cloud Brocade a luxurious and intricate silk brocade from Nanjing), nor is it sweet whispers in the ear. It is not the beautiful elegance of luxury, it is not the beautiful grandeur, but it is an obscure beauty in the mist, the beauty of a moonlight or drizzly night. Audibly, we can feel that many playing techniques are exactly the same as that of the Guzheng, but this creates an extraordinary artistic conception and atmosphere that makes people want to see more and one is intoxicated in it.

===Conclusion===
Looking at the vast visual records of the konghou we see rich forms, exquisite designs, and technique of master artists. The diversity in type, culture, and aesthetics altogether demonstrates the multicultural construction of this instrument and subjective and objective choices during its development. Though the ancient konghou is lost, the brilliant colours and lingering melodies from its history are frozen in these images, leaving an endless room for the powerful imagination and for wonder for many generations to come.

The konghou itself is the fruit of civilization caused by the amalgamation of two or even more cultures. Although the ancient konghou gradually withdrew from the arena of the history of Chinese music, it actively took part in the rise of the Chinese musical culture during its widespread to the East. It even blended into the forest of Chinese music once, and became an important member of the ancient Chinese musical instruments. It made historic contributions to traditional Chinese music and its role in the exchange and spread of musical culture between the East and West is indelible.

===References===
[1]阴法鲁《古代中国与南方邻国的音乐文化交流》，《人民音乐》1984年第2期。
[2]阴法鲁《古代中外音乐文化交流问题探讨》，《中国音乐学》1985年第1期。
[3]谷水《箜筷和箜筷引》，《艺术世界》1980第1期。
[4]谢瑾《中国古代筷的研究》，上海音乐学院2007年博士学位论文。
[5]乐声《箜筷》，《乐器》2004年第5期。

===Questions===
1.According to the text, where did the Konghou originate, and during which dynasties did it primarily flourish?
2.What are the three structural types of the ancient Chinese Konghou mentioned in the text?
3.How does the poet Li He describe the sound of the Konghou in his poem "Song of Li Ping’s Konghou"?
4.What is the primary structural difference between the modern reformed Konghou and the Western harp, and what traditional instrument's techniques does it incorporate?
5.Who is recognized as the "National Master of Konghou," and what was her role in the instrument's modern history?

===Answers===
1.The Konghou originated in Persia and flourished primarily during the Han and Tang Dynasties. It was widely used in courtly Yayue (solemn ceremonial music) and the "Ten Musical Departments."
2.The three types are the Vertical Konghou (introduced from Persia), the Horizontal Konghou (native to the Han people and related to the Guqin), and the Phoenix-headed Konghou (similar to the vertical one but decorated to emphasize royal temperament).
3.Li He uses metaphors such as jade from Mount Kunlun shattering, a phoenix calling, a lotus weeping in the dew, and an orchid laughing in the breeze. He also describes the sound as powerful enough to move the Emperor, shatter the sky where Nüwa repaired it, and keep Wu Gang awake on the moon.
4.The modern Konghou has a double row of strings, whereas the Western harp has only one row. In terms of performance, it incorporates techniques from the Guzheng, such as pressing the strings and vibrato, allowing for styles like bending notes.
5.Cui Junzhi is recognized as the "National Master of Konghou." She played a crucial role in the instrument's revival by researching ancient texts, developing new playing techniques that combined harp and Guzheng skills, and becoming the first modern female Konghou performer.

===Terminology===
Yayue 雅乐
Ten Musical Departments 十部乐
Pear Garden 梨园
Vertical Konghou 竖箜篌
Horizontal Konghou 卧箜篌
Phoenix-headed Konghou - 凤首箜篌
Qingshang Music 清商乐
Geomungo （Black Zither）玄琴
Polyphony 复调
Harmonics 泛音

==箜篌——穿越古今的天籁之音==

===引言===

箜篌，一听这个名字，就仿佛是从历史中走来，相较而言，这是一件对大众来说比较陌生的小众乐器。它就像是隐世隔绝了多年的绝世高手，始终带着一份难以言说的神秘感。或许是应了那句“此曲只应天上有，人间哪得几回闻”的说法，因为罕见，所以显得弥足珍贵。

===箜篌的前世今生——起源与盛景===

箜篌又名空侯、坎侯，是中国古代传统的弹弦乐器，起源于波斯，流行于汉唐时期，主要用于宫廷雅乐十部伎和乐舞伴奏。其音色通透清秀，飘荡摇曳，呈现出中国古代宫廷音乐的历史画面感，让听者在仙乐中描画出古代宫廷音乐的演奏场景，仿佛追随着美妙的乐音飘渺入天宫。那是一种至幻至美的听觉体验，更是其他乐器所不能企及的高级美。

箜篌在汉唐时期是皇家乐器，由于广泛运用于大型的宫廷音乐伴奏，因此演奏发展得极快、极高，深受帝王将相的青睐。唐代梨园（唐代皇家专门训练乐工的地方叫做梨园。）乐工李凭擅弹此乐器，天子一日一召见，名气之高，远超于当时著名的歌手李龟年。诗人李贺曾在《李凭箜篌引》中写道： “吴丝蜀桐张高秋，空白凝云颓不流。江娥啼竹素女愁，李凭中国弹箜篌。昆山玉碎凤凰叫，芙蓉泣露香兰笑。十二门前融冷光，二十三丝动紫皇。女娲炼石补天处，石破天惊逗秋雨。梦入坤山教神妪，老鱼跳波瘦蛟舞。吴质不眠倚桂树，露脚斜飞湿寒兔。”李贺多次运用象征和比喻的手法，展现出演奏者所创造出的音乐意境，生动地再现出李凭高超的演奏技巧，表现出作者极高的文学修养和天马行空的想象力，极具浪漫主义色彩。

===形制分类——三种箜篌===

古代箜篌从形制上分为竖箜篌、卧箜篌、凤首箜篌三种。竖箜篌是从远古时期狩猎者的弓箭演化过来的，它的出现伴随着人类文明的进程。凤首箜篌和竖箜篌外形相近，为凸显皇家富贵大气的气质，在琴头加了凤凰头的装饰。汉代时竖箜篌从波斯传入中国，与西方竖琴同宗，只是在叫法上不同，而竖琴在当代特指西洋竖琴。卧箜篌与古琴属同一起源，琴身面板上带品位，使用竹片拨奏或击奏，是汉族的传统乐器，被誉为“华夏正声”列入《清商乐》。卧箜篌曾在唐代传入朝鲜，后经过流传，改良成玄琴。

===沉寂与失传——宋代后的落寞===

箜篌之所以不被现代人所熟知，是因为宋代之后，俚俗的市民音乐成为文化主流，随着宫廷雅乐没落，演奏箜篌的人也越来越少。后来箜篌被古筝、古琴这些同类型的乐器所替代，最后失传于民间。后人只能从壁画和雕刻中看到箜篌的图案。

无论是古代本土的卧箜篌还是外来的竖筷、弓形筷，其产生、发展、灭亡都是中国历史的自然变更、是中国音乐的自主扬弃。现代箜篌的复苏、改革亦然。可以说，决定其发展命运的是自身乐器学和文化内涵的质变生发，以及中国音乐文化的未来审美取向。

===现代重生——融合创新的新型箜篌===

现代箜篌是结合了竖琴和古筝所制作出来的一种新型箜篌。改革后的箜篌是双面琴弦，西洋竖琴是单排琴弦，这是两者在外形上最直观的区别。从演奏技巧层面来看，箜篌是在竖琴演奏的基础上，糅合了古筝压弦颤音等常用技巧，使乐器灵动起来，带动韵味上的变化。双排弦的构造，左右手可轮番奏出旋律，还可一手旋律一手伴奏。两手还可同时奏出旋律互不干涉，增强了和声和复调旋律的功能。现代箜篌在演奏技术上大量借鉴了古筝，但两者的区别在于，古筝属平弦类乐器，戴假指演奏，其音色醇厚，似静谧的荷塘淡雅含蓄；箜篌属竖弦类乐器，用手指演奏，其音色空灵，似泉水般清澈透亮。令人惊喜的是，演奏者运用古筝的演奏技巧时，箜篌就像是那种乐器的化身，将音乐符号都融入其中。

===箜篌国手与经典作品——崔君芝的传承与创新===

====“箜篌国手”崔君芝====

崔君芝20世纪60年代在中国音乐学院学习乐器演奏，毕业后在歌舞剧院工作期间学习掌握了竖琴的演奏技巧。1979年她参加箜篌改制研究，致力于箜篌演奏技巧的钻研与创新。因失传多时，当时无人会弹奏箜篌，她只能用自己的音乐学识和乐器演奏经验，苦心研究，积极探索，从竖琴、古筝、琵琶等古乐器中汲取精华，琢磨演奏技巧。她在潜心钻研箜篌演奏技巧的过程中，曾翻阅大量古代的诗词歌赋，从中提炼出箜篌的文化底蕴和历史价值，汲取营养和创作的灵感，终于创造出现代箜篌的演奏技巧和方法，成为中国近代第一位女性箜篌演奏家，被誉为“箜篌国手”。目前崔君芝旅居海外，致力于箜篌的演奏、作品创作、教学和理论研究，代表作品有《清明上河图》《脸谱》《湘妃竹》等。美国密尔必达市为表彰崔君芝多年以来对中国传统文化的推广，将每年的11月1日作为“中国箜篌日”。这既是对崔君芝艺术生涯的肯定，也是对中华传统文化的认可。

====经典作品《湘妃竹====

《湘妃竹》是由世界首席箜篌演奏家崔君芝创作并演奏的。乐曲取材于琵琶套曲《塞上》中的《湘妃滴泪》。整首曲子如行云流水般淡雅柔曼，呈现出雨后天晴、洞庭湖畔湘妃竹曼妙起舞的优美意境，歌颂湘妃竹的高尚气节。箜篌独有的弹奏，犹如稠密的细雨从空中飘落，叮叮咚咚地敲打在湘妃竹的叶面上，顿音的节奏似微风吹过，竹叶轻轻摇曳将水珠散落一地，泛起层层涟漪，泛音偶然闪现，缥缈而通透……崔君芝用深厚的演奏功力，完美地驾驭了这件曾经失传的乐器，仿佛凤凰涅槃重生，让箜篌在现代的舞台上继续散发无穷的魅力。她的优美，不是绚烂夺目的云锦，更不是甜蜜的耳边私语，她不是豪华富丽的端庄之美，也不是气势恢宏的大气之美，她是一种薄雾笼罩下的朦胧之美，是月色融融或细雨绵绵的夜色之美。从听觉上，我们可以感受到大量的演奏技巧与古筝如出一辙，但却营造出非凡的意境与氛围，让人意犹未尽，沉醉其中。

===结论===

纵览众多的箜篌图像资料，形制丰富、形态精美、绘制精湛，不乏艺术精品。其种类、文化、审美的多样化充分说明了这件乐器的多元文化建构和发展过程中的主、客观扬弃。古代筷虽已失传，其在历史上留下的绚丽色彩和绕梁妙音却固化在这些图像之中，给后人留下无尽的畅想和遐思。

箜篌本身就是两种、甚至多种文化交融的文明之果。尽管最后古代箜筷在中国音乐的历史舞台上退隐了，但在其东传的过程中，它曾积极地参与了中国音乐文化发展历程，甚至一度已经融人了华夏民族音乐之林而成为中国古代民族乐器中的重要成员。它为中国传统音乐文化的发展做出过历史性的贡献，其在古代东西方音乐文化交流与传播中的作用也是不可磨灭的。

===参考文献===
[1]阴法鲁《古代中国与南方邻国的音乐文化交流》，《人民音乐》1984年第2期。
[2]阴法鲁《古代中外音乐文化交流问题探讨》，《中国音乐学》1985年第1期。
[3]谷水《箜筷和箜筷引》，《艺术世界》1980第1期。
[4]谢瑾《中国古代筷的研究》，上海音乐学院2007年博士学位论文。
[5]乐声《箜筷》，《乐器》2004年第5期。

===问题===
1.根据文本，箜篌起源于哪里？主要在哪些朝代兴盛？
2.文中提到的中国古代箜篌有哪三种形制？
3.诗人李贺在《李凭箜篌引》中是如何描绘箜篌的声音的？
4.现代改革后的箜篌与西方竖琴在结构上的主要区别是什么？它融合了哪种传统乐器的技法？
5.谁被誉为“箜篌国手”？她在该乐器的现代发展史上扮演了什么角色？

===回答===
1.箜篌起源于波斯，主要在汉代和唐代兴盛。它广泛用于宫廷雅乐和“十部乐”中。
2.这三种形制分别是竖箜篌（从波斯传入）、卧箜篌（汉族本土乐器，与古琴同源）和凤首箜篌（类似于竖箜篌，但带有装饰以强调皇家气质）。
3.李贺使用了诸如昆仑美玉击碎、凤凰鸣叫、芙蓉在露水中饮泣以及兰花在风中欢笑等隐喻。他还形容这声音力量巨大，能打动帝王，震破女娲补过的天际，并让月宫中的吴刚彻夜不眠。
4.现代箜篌拥有双排弦，而西方竖琴只有单排弦。在演奏方面，它融合了古筝的技法，如按弦和颤音，从而能够演奏出吟揉等风格。
5.崔君芝被誉为“箜篌国手”。她在箜篌的复兴中起到了关键作用，她通过研究古籍，研发了结合竖琴和古筝技巧的新演奏法，并成为了现代第一位女性箜篌演奏家。

===术语和表达===
Yayue 雅乐
Ten Musical Departments 十部乐
Pear Garden 梨园
Vertical Konghou 竖箜篌
Horizontal Konghou 卧箜篌
Phoenix-headed Konghou - 凤首箜篌
Qingshang Music 清商乐
Geomungo （Black Zither）玄琴
Polyphony 复调
Harmonics 泛音

User:Jiang Wanling

2026-03-09T13:44:12Z

Root:

As a Class of 2025 graduate student in the English Translation program at Hunan Normal University, my academic journey is deeply rooted in this institution, as I also completed my undergraduate studies here. I am currently enriching my postgraduate experience by participating in a Chinese Language and Culture course. This interdisciplinary approach allows me to gain a more profound and nuanced understanding of the cultural subtleties embedded within the language. I am confident that this knowledge will be invaluable, enabling me to become a more sensitive and effective translator by bridging cultural gaps with greater precision in my future career.

==期末论文==

===Yongzhou Blood Duck===

====Introduction====
Yongzhou Blood Duck, known in Chinese as “Yongzhou Xueya,” is a traditional dish originating from Yongzhou City in Hunan Province. It is distinguished by its use of fresh duck blood to create a thick, dark sauce that coats the stir-fried duck pieces. This dish is a representative of Xiang (Hunan) cuisine, valued for its rich, savory, and slightly spicy flavor, as well as its unique texture. The dish is deeply integrated into the local food culture of southern Hunan, particularly in Yongzhou, and the most popular blood duck originates from Ningyuan(Ningyuan is a county under Yongzhou's administration). The preparation is seasonal, with colder months (late autumn to winter) considered ideal due to better preservation of the duck blood and finished dish. It is commonly served during festivals, family gatherings, and is also a staple in many local restaurants.

====Historical Origins====
The exact origin of Yongzhou Blood Duck is not documented in official historical records, but several local legends explain its creation. The most common story dates back to the late Ming or early Qing Dynasty. According to folklore, a cook in Yongzhou was preparing a duck dish when fresh duck blood was accidentally spilled into the cooking wok. Instead of discarding the food, the cook continued to stir-fry it, discovering that the blood formed a rich, flavorful sauce that enhanced the dish. This method was later adopted and refined by local families.

Another version suggests the dish was developed out of practicality and nutritional understanding. In rural Yongzhou, where ducks were raised widely, using every part of the animal was important to avoid waste. The blood, often discarded, is rich in protein and iron. Locals began incorporating it into cooking to add nutrition and flavor. The addition of local spices like chili, ginger, and rice wine helped mask any potential gaminess and created a balanced, hearty dish suitable for farmers and laborers. Over centuries, it evolved from a humble farmhouse meal to a celebrated local specialty, with neighboring areas like Ningyuan, Daoxian, and Xintian developing their own subtle variations, often differing in the ratio of blood to meat, the level of spiciness, or the choice of aromatic herbs.

====Production Process====
The preparation of Yongzhou Blood Duck is precise and requires experience. The entire process, from selection to serving, emphasizes freshness and technique.

1. Ingredients and Selection:
The primary ingredients include a fresh, free-range duck (usually 1.5-2 kg), fresh duck blood (approximately 200-300 ml), old ginger (50g), garlic (one whole bulb), dried red chili peppers (10-15, adjust to taste), star anise (2-3 pieces), cinnamon (one small stick), local rice wine (100-150 ml), soy sauce (light and dark), cooking oil (traditionally lard for flavor, but peanut oil is common), and salt. The quality of the duck is paramount; ducks raised in the river-rich areas of Yongzhou are believed to have firmer meat and cleaner flavor.

2. Key Technique – Treating the Duck Blood:
This is the most critical step. Immediately after the duck is slaughtered, its fresh blood is collected in a bowl. To prevent it from coagulating into a solid block before cooking, it is promptly stirred with a small amount of vinegar (about a tablespoon per cup of blood) or a mild saltwater solution. The acidic or saline environment disrupts the coagulation factors, keeping the blood in a liquid, slurry state for several hours. This allows it to be poured evenly into the hot wok later.

3. Detailed Cooking Steps:
Preparation: The duck is chopped into small, bone-in pieces (about 3-4 cm). Bones are left in as they contribute to the flavor of the sauce during simmering. Ginger is sliced, garlic is slightly crushed.
Stir-frying: The wok is heated until smoking hot. Lard or oil is added, followed by the duck pieces. They are stir-fried over high heat for 5-8 minutes until the skin turns golden brown and a significant amount of duck fat is rendered. This step is crucial for developing the base flavor.
Aromatics: The heat is reduced to medium. Ginger, garlic, dried chilies, star anise, and cinnamon are added. Stir-frying continues for 1-2 minutes until the spices release their fragrance, being careful not to burn them.
Deglazing and Simmering: The local rice wine is poured in, causing a sizzle. This deglazes the wok, lifting any browned bits (fond) which are packed with flavor. Soy sauce and salt are added. Enough water or stock is added to barely cover the duck pieces. The heat is reduced to low, and the pot is covered to simmer for 20-30 minutes, allowing the duck to become tender and absorb the flavors.
Adding the Blood: The treated duck blood is stirred once more and then poured in a thin stream into the simmering pot. The heat must be kept at a gentle simmer.The cook immediately begins stirring vigorously and continuously. Upon contact with the heat, the proteins in the blood (mainly fibrinogen) denature and coagulate instantly, forming countless tiny, tender granules that mix with the liquid to create a thick, gravy-like sauce with a unique, slightly granular texture. The sauce turns from red to a dark brown or nearly black color.
Finishing: Stirring continues for 2-3 minutes until the sauce uniformly coats every piece of duck and reaches the desired consistency. A final check for seasoning is done. The dish is transferred to a serving bowl and garnished with fresh coriander or chopped scallion greens.

====Cooking and Serving Methods====
Yongzhou Blood Duck is a versatile centerpiece dish. Its rich sauce makes it ideal for pairing with staple foods.
1. As a Main Course with Rice: This is the most traditional and common way. It is served directly from the cooking wok or a deep plate at the center of the dining table. Steamed white rice is essential on the side to balance the strong flavors and to soak up the savory sauce.
2. With Noodles or Rice Noodles: The dish, especially the sauce with some duck pieces, is poured over freshly boiled, plain noodles or Yongzhou’s local rice noodles, creating a flavorful noodle dish.
3. As a Hot Pot Base: In some modern restaurants, a slightly soupier version of Yongzhou Blood Duck is used as a flavorful base for a communal hot pot. Diners can then cook vegetables, tofu, and other ingredients in the simmering sauce.
4. Leftover Innovation: Leftover Blood Duck is often reheated and used as a topping for rice the next day, or the sauce is used to cook a fresh batch of vegetables.

====Cultural Significance====
In Yongzhou, this dish is more than food; it is a social and cultural marker embedded in practical life.
Festive and Ceremonial Food: It is considered an essential dish for important occasions such as the Lunar New Year, weddings, birthdays, and when honoring important guests. Its rich, dark color is associated with prosperity and seriousness. Serving it signifies the host’s respect and generosity.
A Practical Preservation Method: Historically, adding blood and heavy spices was a practical way to preserve duck meat for a few more days in an era before refrigeration. The cooking process and the spices acted as natural preservatives.
A Tangible Link to Home: For Yongzhou natives living outside the region, the distinct taste of Blood Duck is a powerful sensory trigger for homesickness. Families often prepare it for relatives who are about to travel or return. The ability to cook this dish is also a point of pride and a skill passed down, especially among women in traditional households.
Community and Identity: The dish fosters community bonds. During the winter preparation season, neighbors might exchange tips or even share their homemade versions. Small variations in recipes (e.g., a secret blend of spices, the use of orange peel) become family trademarks and topics of friendly discussion.

====Modern Development====
Yongzhou Blood Duck has transitioned from a local specialty to a regionally recognized product with concrete developments.
Culinary Tourism and Media: It is a highlighted dish for visitors to Yongzhou. The Yongzhou government and tourism board often feature it in promotional materials. It has appeared on provincial and national TV food programs, significantly boosting its profile.
Industrialization and Commerce: Several local food companies in Yongzhou and Ningyuan now produce commercial versions. These include:
(1)Vacuum-Packed Cooked Products: Fully cooked, seasoned Blood Duck, ready to heat and serve. Brands like “Xiangjianong” and “Ningyuanxiang” are sold on major e-commerce platforms like Taobao and JD.com.
(2)Semi-Processed Kits: Some companies sell kits containing pre-marinated duck pieces and a separate, stabilized blood sauce packet, simplifying home cooking.
(3)Ready-to-Eat Packages: For the tourism market, small, shelf-stable packages are sold as souvenirs.
Agricultural Linkage: The dish’s popularity supports local duck farming, creating a stable market for farmers in the region.
Cultural Preservation Efforts: While not yet on the national intangible cultural heritage list, it is protected and promoted at the municipal level. Cooking competitions focused on Yongzhou Blood Duck are held to encourage the transmission of skills among younger chefs. Its story and recipe are included in local school cultural textbooks, as it is widely recognized as an important part of Yongzhou’s and Hunan’s culinary heritage.

===References===

[1] Liu Wenqing. 刘文清. (2024) 永州血鸭 [Yongzhou Blood Duck] 中国作家在线 [Chinese Writers Online].
[2] Yu Hanliang. 于汉良. (2022) 宁远血鸭 [Ningyuan Blood Duck] 中山日报 [Zhongshan Daily].
[3] Wen Zixiang. 文紫湘. (2023) 【永州故事】永州血鸭的来历 [The Origin of Yongzhou Blood Duck] 永州文旅 [Yongzhou Culture and Tourism].
[4] Anon. 佚名. (2024) 打卡永州-美食特产：永州血鸭切片 [Check-in Yongzhou - Local Delicacy: Yongzhou Blood Duck Slices] 永州政府网 [Yongzhou Government Website].

===Terms and Expressions===

1. Yongzhou Blood Duck (Yongzhou Xueya) 永州血鸭
2. Ningyuan Blood Duck (Ningyuan Xueya) 宁远血鸭
3. duck blood 鸭血
4. to stir-fry 爆炒
5. coagulation 凝固
6. to deglaze 烹锅（加入酒水以溶解锅底焦香物）
7. rice wine 米酒
8. star anise 八角
9. cinnamon 肉桂
10. chili pepper 辣椒
11. bone-in pieces 带骨块
12. free-range duck 散养鸭/土鸭
13. sauce / gravy 酱汁
14. local specialty 地方特产
15. festive dish 节庆菜肴
16. vacuum-packed 真空包装的
17. semi-processed kit 半成品套装
18. culinary tourism 美食旅游
19. e-commerce platform 电子商务平台

===Questions===

1. What are the two main regions in Hunan famous for their versions of Blood Duck?
2. Why is vinegar added to the fresh duck blood before cooking?
3. Describe the visual and textural change that occurs when the duck blood is added to the hot wok.
4. Besides eating it with rice, what is one modern way to enjoy Yongzhou Blood Duck in restaurants?
5. Name two concrete forms in which commercially produced Yongzhou Blood Duck is sold today.

===永州血鸭===

====引言====
永州血鸭，是起源于湖南省永州市的一道传统菜肴。其独特之处在于使用新鲜鸭血来制作浓稠的黑色酱汁，包裹着爆炒的鸭块。这道菜是湘菜的代表之一，以其醇厚、咸鲜且微辣的风味以及独特的口感而著称。该菜深深融入湘南地区的饮食文化，尤其在永州颇为盛行，其中最受欢迎的血鸭出自宁远（宁远是永州市的一个县）。其制作具有季节性，秋冬寒冷时节因利于鸭血和成菜的保存而被视为最佳制作期。它是节庆、家庭聚会的常见菜肴，也是当地许多餐馆的招牌菜。

====历史起源====
永州血鸭的确切起源未有官方史籍记载，但当地流传着几种传说。最常见的故事可追溯至明末或清初。据民间说法，永州的一位厨师在烹制鸭肉时，不小心将新鲜鸭血洒入了炒锅。厨师没有将食物丢弃，而是继续翻炒，发现鸭血形成了一层浓郁美味的酱汁，提升了菜肴的风味。这种方法后来被当地家庭采用并改良。

另一种说法认为，这道菜是基于实用性和营养认知而发展起来的。在养鸭普遍的永州农村，物尽其用很重要。常被丢弃的鸭血富含蛋白质和铁。当地人开始将其加入烹饪中以增加营养和风味。加入辣椒、姜、米酒等本地香料有助于掩盖可能的腥味，并创造出一种适合农民和劳动者的均衡、丰盛的菜肴。经过数百年，它从朴素的农家菜演变为备受赞誉的地方特产，宁远、道县、新田等邻近地区也发展出了各自稍微有些不一样的变体，通常在血与肉的比例、辣度或香草选择上有所不同。

====制作过程====
永州血鸭的制作工序讲究且需要经验。从选材到上桌的整个过程都强调新鲜与技术。

1. 食材与选材：
主要食材包括：新鲜的散养鸭（通常1.5-2公斤）、新鲜鸭血（约200-300毫升）、老姜（50克）、大蒜（一整头）、干红辣椒（10-15个，依口味调整）、八角（2-3颗）、肉桂（一小段）、本地米酒（100-150毫升）、酱油（生抽和老抽）、食用油（传统上用猪油提香，但花生油也常用）以及盐。鸭子的品质至关重要；人们认为在永州河网地区散养的鸭子肉质更紧实、风味更纯正。

2. 关键技巧——鸭血处理：
这是最关键的步骤。鸭子宰杀后，立即将新鲜血液收集在碗中。为防止其在烹饪前凝固成块，需迅速加入少量醋（约每杯血一汤匙）或淡盐水搅拌。酸性或盐性环境会破坏凝血因子，使血液在数小时内保持液态糊状。这能使其在后面均匀地倒入热锅中。

3. 详细烹饪步骤：
准备工作：将鸭子剁成带骨的小块（约3-4厘米）。保留骨头，因其在炖煮过程中能为酱汁增添风味。姜切片，蒜稍拍裂。
爆炒：将炒锅烧至冒烟。加入猪油或食用油，然后下鸭块。用大火爆炒5-8分钟，直至鸭皮呈金黄色并煸出大量鸭油。这一步对形成基础风味至关重要。
炒香料：火调至中火。加入姜、蒜、干辣椒、八角和肉桂。继续翻炒1-2分钟，直至香料出香，注意不要炒焦。
烹锅与炖煮：淋入本地米酒，会发出滋滋声。这起到烹锅作用，溶解锅底褐化的美味焦屑。加入酱油和盐。加入刚好能淹没鸭块的水或高汤。转小火，盖上锅盖炖煮20-30分钟，使鸭肉变嫩并吸收味道。
加入鸭血：将处理好的鸭血再次搅拌，然后以细流状倒入微沸的锅中。必须保持文火慢炖。厨师立即开始快速、连续地搅拌。鸭血接触热量后，其中的蛋白质（主要是纤维蛋白原）瞬间变性和凝固，形成无数细小的嫩颗粒，与汤汁混合，创造出一种浓稠、类似肉汁、带有独特细微颗粒感的酱汁。酱汁颜色由红转为深褐色或近乎黑色。
收尾：继续搅拌2-3分钟，直至酱汁均匀包裹每一块鸭肉并达到理想的浓稠度。最后进行调味检查。将菜肴盛入碗中，饰以新鲜香菜或葱花。

====烹饪与食用方法====
永州血鸭是一道有多种吃法的宴客主菜。其丰富的酱汁使其非常适合搭配主食。
1.作为主菜配米饭：这是最传统和常见的方式。直接从炒锅或深盘中盛出，置于餐桌中央。旁边必须有白米饭来平衡浓郁的风味并吸收美味的酱汁。
2.搭配面条或米粉：将这道菜，尤其是带有部分鸭块的酱汁，浇在刚煮好的面条或永州本地米粉上，制成一道风味面条。
3.作为火锅锅底：在一些现代餐厅，汤汁稍多的永州血鸭被用作共享火锅的风味锅底。食客可以在沸腾的酱汁中涮煮蔬菜、豆腐等食材。
4.剩菜新吃法：剩菜血鸭常被重新加热作为次日米饭的浇头，或用其酱汁来烹制新鲜蔬菜。

====文化意义====
在永州，这道菜不仅是食物，更是嵌入实际生活的社会文化标志。
节庆与礼仪食物：它被视为春节、婚礼、寿宴及招待贵客时必不可少的菜肴。其浓郁的深色与富足和隆重相关联。上这道菜象征着主人的敬意与慷慨。
一种实用的保存方法：历史上，加入鸭血和重香料是在没有冰箱的时代将鸭肉多保存几天的实用方法。烹饪过程和香料起到了天然防腐剂的作用。
与家乡的有形纽带：对于在外生活的永州人，血鸭独特的风味是引发乡愁的强烈感官刺激。家人常为即将远行或归来的亲属烹制此菜。烹饪这道菜的能力也是一种自豪感，尤其是在传统家庭中，常是女性传承的技能。
社区与认同：这道菜促进了社区联系。在冬季制作时节，邻居们可能会交流烹饪技巧甚至分享自家制作的血鸭。食谱上的细微差别（例如，秘制香料混合、使用陈皮）成为家庭招牌和友好讨论的话题。

====现代发展====
永州血鸭已从一个地方特产发展为获得区域性认可的产品，并产生了具体的发展。
美食旅游与媒体曝光：对游客来说，这是永州的亮点菜肴。永州市政府和旅游局常在宣传材料中重点推介。它已在省级和国家级的电视美食节目中亮相，显著提升了知名度。
工业化与商业化：永州现已有多家本地食品公司生产血鸭的商业版本。包括：(1)真空包装熟食：全熟、调味好的血鸭，加热即可食用。“乡间弄”、“宁远香” 等品牌在淘宝、京东等主要电商平台有售。(2)半成品：一些公司销售包含预腌鸭块和独立包装的稳定血酱的半成品套装，简化了家庭烹饪。(3)即食包装：针对旅游市场，有小型的、可稳定储存的包装作为特产纪念品出售。
农业联动：这道菜的人气支持了本地养鸭业，为该地区的农民创造了稳定市场。
文化保护努力：虽然血鸭尚未被列入国家级非物质文化遗产名录，但已在市级层面得到保护和推广。会举办以永州血鸭为主题的烹饪比赛，以鼓励技能在年轻厨师中的传承。其故事和食谱被编入地方学校文化教材，被广泛认为是永州乃至湖南饮食文化遗产的重要组成部分。

User:Chen Kexin

2026-03-09T02:26:32Z

Root:

==About me==

My name is 陈可心 (Chen Kexin).

==Final Exam Paper==

Topic: '''Korean Janggu Dance（朝鲜族长鼓舞）'''

==期末论文==

===Korean Janggu Dance===

◦ ====Origin and Development====The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====

Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.

Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.

Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====

From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====

Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===

▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.

▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.

▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum

独舞 solo dance

双人舞 duet dance

群舞 group dance

对打起舞 dual-play dance with drum beats

扭、弹、矮、稳 twisting, springing, squatting, steadying

闪转旋跃 dodging, turning, spinning and leaping

鹊雀步 magpie step

垫步 shuffle step

===Questions===

1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?3.What are the two categories of performance styles of the Korean Janggu Dance?4.Who was the first-generation inheritor of the Korean Janggu Dance skills?5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===

Originated from the narrow-waisted drum of India.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.Jin Douchang.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====

长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====介绍====

朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）

它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）

明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）

它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====

表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。

动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。

音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====

从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====

传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。

保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum

独舞 solo dance

双人舞 duet dance

群舞 group dance

对打起舞 dual-play dance with drum beats

扭、弹、矮、稳 twisting, springing, squatting, steadying

闪转旋跃 dodging, turning, spinning and leaping

鹊雀步 magpie step

垫步 shuffle step

三拍系统 triple-beat system

《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===

1.朝鲜族长鼓舞的核心道具长鼓原型是什么？

2.朝鲜族长鼓舞何时被列入国家级非遗名录？

3.朝鲜族长鼓舞的表演风格分为哪两类？

4.朝鲜族长鼓舞的第一代技艺传承人是谁？

5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===

1.起源于印度的细腰鼓。

2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。

3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。

4.金斗昌。

5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

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2026-03-05T04:46:55Z

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=Courses=
Summer Semester 2026
*THU 16:30-18:10 409 中国文化概要 [[Introduction to Chinese Culture Spring 2026]] (09230030)(1-16,腾龙楼409教室) BA24级

Fall Semester 2025
*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Spring Semester 2025
*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*1 FRI 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Summer Semester 2025
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
Fall Semester 2024
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8, Lehrmaterial wird vom Lehrer gestellt, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 31.10.
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 , Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习, 周2,4,6,8,10,12,14,16 (跟范妮老师), Lehrbuch: 《当代大学德语听说训练》audio, paper, 1 13.9., 2 27.9., 3 25.10., 4 8.11., 5 22.11., 6 6.12., 7 20.12.
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）, Lehrbuch: 《德语初级听力》pdf and audio, 1 6.9., 2 13.9., 3 20.9., 4 27.9., 5 11.10., 6 18.10., 7 25.10., 8 1.11., 9 8.11., 10 15.11., 11 22.11., 12 29.11., 13 6.12., 14 13.12., 15 20.12., 16 27.12.
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题（智慧树网络课程）人文社会科学类全校 3 2 32 课时 2-12 0

Summer Semester 2024
*THU (8:00-9:30 s. 413) 9:45-11:15 s. 413 SIN II s. 413 MGR 文章写作 Praktyczna nauka języka chińskiego – '''kompozycja tekstu''' [[Text Comp 2024]] Sess1 Feb 29 8-9:30, Sess2 Feb 29 9:45-11:15, Sess3 Mar 21, 8:00-9:30, Sess4 Mar 21, 9:45-11:15, Sess5 Apr 4, 8:00-9:30, Sess6 Apr 4, 9:45-11:15, Sess7 Apr 11, 8:00-9:30, Sess8 Apr 11, 9:45-11:15, Sess9 Apr 18 8:00-9:30, Sess10 Apr 18, 9:45-11:15, Sess11 Apr 25 8:00-9:30, Sess 12 Apr 25, 9:45-11:15, Sess13 June 13 8:00-9:30, Sess14 June 13, 9:45-11:15, Sess15 MON Jun 17, 8:00-9:30, Sess16 MON Jun 17, 9:45-11:15, FinEx Jun 20, 8:00-9:30
*THU 11:30-13:00 s. 401 (13:15 14:45 s. 413) SIN I MGR 中國文化 '''Kultura chińska''' [[Chin Cult 2024]] Sess1 Feb 29 11:30-13:00, Sess2 Feb 29 13:15-14:45, Sess3 Mar 21, 11:30-13:00, Sess4 Mar 21, 13:15-14:45, Sess5 Apr 4, 11:30-13:00, Sess6 Apr 4, 13:15-14:45, Sess7 Apr 11, 11:30-13:00, Sess8 Apr 11, 13:15-14:45, Sess9 Apr 18 11:30, Sess10 13:15-14:45, Sess11 Apr 25 11:30-13:00, Sess 12 Apr 25, 13:15-14:45, Sess13 June 13 11:30-13:00, Sess14 June 13, 13:15-14:45, Sess15 MON Jun 17, 11:30-13:00, Sess16 MON Jun 17, 13:15-14:45, FinEx Jun 20, 11:30-13:00
*FRI (8:00-9:30 s. 400) 9:45-11:15 SIN III s. 424 中國文學-詩歌 Język chiński klasyczny – proza lub '''poezja''' [[Chin Poetry 2024]] s. 400/424 Sess1 Mar 1 8:00-9:30, Sess2 Mar 1 9:45-11:15, Sess3 Mar 22, 8:00-9:30, Sess4 Mar 22, 9:45-11:15, Sess5 Apr 5, 8:00-9:30, Sess6 Apr 5, 9:45-11:15, Sess7 Apr 12 8:00-9:30, Sess 8 Apr 12, 9:45-11:15, Sess9 Apr 19, 8:00-9:30, Sess10 Apr 19, 9:45-11:15, Sess11 Apr 26 8:00-9:30, Sess 12 Apr 26, 9:45-11:15, Sess13 June 14 8:00-9:30, Sess14 June 14, 9:45-11:15, Sess15 TUE Jun 18, 8:00-9:30, Sess16 TUE Jun 18, 9:45-11:15, FinEx Jun 21, 8:00-9:45

Co-taught courses in China
*WED 16:30-17:15 '''德语语法''' [[Germ Gramm 2024]] 30xBA2 22德 Wang Zhuochen (1-16,外国语学院大楼406教室09163042.011) S1 XS 28.2., S2 MW 6.3., S3 MW 13.3., S4 XS 20.3., S5 MW 27.3., S6 XS 3.4., S7 XS 10.4., S8 XS 17.4., S9 XS 24.4., S10 MW 8.5., S11 MW 15.5., S12 MW 22.5., S13 MW 29.5., S14 MW 5.6., S15 XS 12.6., Exam XS 19.6.
*THU 8:00-9:40 '''翻译理论与实践''' [[Trans TP 2024]] BA3 21德 Callie (单1-15.外国语学院大楼401教室 09163071.01) (S1 OD 29.2., S2 MW 14.3., S3 MW 28.3., S4 OD 11.4., S5 OD 25.4., S6 MW 9.5., S7 MW 23.5., S8 MW 6.6.)
*THU 8:00-9:40 '''德语语言学导论''' [[Germ Ling 2024]] BA3 21 Callie(双2-16.外国语学院大楼401教室 09163045.01) (S1 MW 7.3., S2 OD 21.3., S3 holiday 4.4., S4 OD 18.4., S5 OD 28.4. (make up for May 2), S6 MW 11.5., S7 MW 16.5., S8 MW 30.5., S9 OD 13.6.)
*FRI 8:00-9:40 '''中国文化概要''' [[Cult Ov 1 2024]] 603 BA2 22笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*FRI 10:00-11:40 '''中国文化概要''' [[Cult Ov 2 2024]] 404 BA2 22笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*Important conference dates: Changsha 29.3., 20.4., Poznan 20.-21.7.

*THU 9:45-11:15 MA2 sal. 401 (403 on additional dates: Nov 30 15:00-16:30, Dec 14 15:00-16:30) [[Practical Study of Chinese literature - text creation]] 文章写作 Praktyczna nauka jezyka chinskiego – kompozycja tekstu SIN m II 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*THU 11:30-13:00 MA1 sal. 401 [[Chinese Culture]] 中國文化 Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 8:00-9:30 BA3 sal. 424 (426 on additional dates: Dec 1, 8, 15 13:15-14:45) [[Classical Chinese Poetry and Prose]] 中國文學-散文 Jezyk chinski klasyczny SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 9:45-11:15 MA1 sal. 413 (424 on additional dates: Nov 30, Dec 7, Jan 18 8:00-9:30 413) [[Critical Review of Chinese Literature]] 中国文學反思 Krytyczny przeglad literatury chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
* September 2023 [[Literatur-Übersetzung Chinesisch-Deutsch]] MA, 汉德文学翻译，研究生（4人），32学时, Hunan Normal University, Changsha
* September 2023 [[Konversation Deutsch]] aktuelle Themen aus Gesellschaft und Kultur, BA, 德语口语，大二本科生（入门）（28人），16学时, Hunan Normal University, Changsha
* May-June [[Chinese Culture 2023]], Adam Mickiewicz University, Poznan
* Mon 18:30-21:10, Wed 19:00-21:40 [[Chinese Classics Translation Spring 2023]] 中華典籍外譯 MA, first session Tue 10-11:40 room 601
* Mon 8:00-9:40, Wed 13:00-14:40, Fri 13:00-14:40 602, first session Fri 8-9:40 604 中国文化概要 [[Introduction to Chinese Culture Spring 2023]] BA, (1-16,外国语学院大楼604机房 09161319.02)(1-16, Room 604, School of Foreign Languages Building 09161319.02)
* MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
* Friday 19:00-20:40 [[Chinese Language and Culture Fall 2022]] 87 MA students (starts Sep 30), fall term 2022, with Ole Döring, Cord Eberspächer
* Monday 14:30-16:10 [[Translation Theory ZH-DE 2022]] 29 BA students (starts Aug 29, weeks 1-16) 汉德翻译理论与实践 #腾讯会议：345-3281-9241, fall term 2022
* Monday 14:30-16:10 [[Foundations of Chinese Cultures 2022]] 29 BA students 中国文化基础(09166202.01) (starts Feb 21, weeks 1-16, 外国语学院大楼605机房) 20级翻译01班 jwglnew.hunnu.edu.cn, spring term 2022
* Friday 14:30-16:10 [[Chinese Classics Translation 2022]] 47+ MA students together with Prof. Cord Eberspaecher, class of 2020 Translation & Interpreting Major, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Friday 16:30-18:10 [[Chinese Language and Culture 2022]] 76+ MA students together with Prof. Cord Eberspaecher , class of 2020 Translation & Interpreting, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Wednesday 14:30-16:10 '''[[Introduction to Translation Studies 2021]]''' for MA students of 2021, fall term 2021, Hunan Normal University
* Wednesday 14:30-16:10 '''[[Foundations of Chinese Cultures 2021]]''' for BA students of 2019, spring term 2021, Hunan Normal University
* Corona - Scientific Methods and Ability of Dialogue, winter term 2021, Witten/Herdecke University
* Thursday 11:00-13:30 '''[[Childhood in China - Past and Present]]''' session in the seminar by Prof. David Martin '''Childhood and Development''', Jan 21, 2021, Witten/Herdecke University
* Monday 14:30-16:10 '''[[Chinese Languages and Cultures]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 16:30-18:10 '''[[Introduction to Translation Studies]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 19:00-20:40 '''[[German Phonetics]]''' for BA students of 2020, fall term 2020, Hunan Normal University, Tuesday 14:30-16:10 (8:30-10:30), Wednesday 16:30-18:10 (10:30-12:10 Uhr), Thursday 19:00-20:40 (13:00-14:40 Uhr), Friday 14:30-16:10 (8:30-10:10 Uhr)
* [[Basics of Chinese Culture]], summer term 2020, Hunan Normal University
* [[Cross Media Storytelling]], summer term 2020, Witten/Herdecke University
* [[Holism as a Concept]], summer term 2020, Witten/Herdecke University
* Introduction to Traditional Chinese Culture, winter term 2019/2020, Hunan Normal University
* Introduction to Translation Studies, winter term 2019/2020, Hunan Normal University
* Total Digitization – where is the place for humans?, winter term 2019/2020 Witten/Herdecke University
* How Social is Social Media?, winter term 2019/2020 Witten/Herdecke University
* Regional Digital Cultures - Disruptions (USA), Technology-Skip (Africa), Privacy Discussions (Europe), AI-Controlled Society (China) , winter term 2019/2020 Witten/Herdecke University
* [[Networks, Protocols, Authority]] Netzwerke - Protokolle - Macht - summer term 2019 Leuphana University Lueneburg, with Martin Warnke
* [[Propaganda_-_Die_Rhetorik]] (Propaganda - Rhetorics) Propaganda - Die Rhetorik - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/y6npurbn
* [[Meisterwerke_chinesischer_Dichtkunst]] (Master Pieces of Chinese Poetry) Meisterwerke chinesischer Dichtkunst - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/yymdbm39
* [[Crosscultural Comparison of Literary Works]] Literaturwerke verschiedener Kulturen im Direktvergleich - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/Fj4yeU
* [[Digitalization models in China, the US and Europe|Digitization models in China, the US and Europe]] - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/ZnbY6V
* [[China - Alternative to Western Societies?]] China – techno-autoritäre Alternative zur freiheitlich-westlichen Demokratie? - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/8fxyU7
* [[Ride through World Literature]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[New (old) world power China. Today's foreign policy and political philosophical origins]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[International Sinology]] - spring term 2018 (Beijing Normal University/China)
* [[Introduction to Foreign Literature 2018]] - spring term 2018 (Beijing Normal University/China)
* [[Myth of Immortality / Mythos Unsterblichkeit]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Motifs of World Literature / Motive der Weltliteratur]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Research on the Overseas Distribution of Chinese Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Selected Research Topics in Comparative Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Internet in China]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Education in Dictatorships]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Early Western Translations of the Dream of the Red Chamber]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Introduction to Foreign Literature]] - spring term 2017 (Beijing Normal University/China)
* [[Mass communication in the Age of New Media]] - winter term 2016 (Witten/Herdecke University/Germany)
* [[First encounters between distant cultures]] - and the earliest translations of literature, focusing on China (from the German/European perspective) - winter term 2016 (Witten/Herdecke University/Germany)
* [[Dissemination of Chinese Literature abroad]] - fall term 2016 (Beijing Normal University/China)
* [[Translated Literature]] - fall term 2016 (Beijing Normal University/China)
* [[Communication 4.0]] - New experimental communication apps (in China, the US and Europe) - summer term 2016 (Witten/Herdecke University/Germany)
* [[Internationale Softpower - mit einem Fokus auf China]] - summer term 2016 (Witten/Herdecke University/Germany)
* [[Modern Chinese Literature]] - Students' contributions - (Peking Normal University/China)
* [[Resolving Conflicts, Finding Compromises, Understanding Each Other]] -- summer term 2015 (Witten/Herdecke University/Germany)
* Early reception and translations of the Dream of the Red Chamber -- summer term 2015 (Nanking Normal University/China)
* [[EU-China Multi-level Comparison]] -- winter term 2014/2015 (Università Roma Tre/Italy)
* [[The Other]] -- winter term 2014/2015 (Witten/Herdecke University/Germany)
* [[Cultural memory and the Cultural Revolution]] -- summer term 2014 (Witten/Herdecke Universit/Germany)
* [[Communicating better]] -- summer term 2014 (Witten/Herdecke University/Germany)
* [[China and us]] -- winter term 2013/2014 (Witten/Herdecke University/Germany)
* [[Reading Course]] -- winter term 2013/2014 (Ruhr University Bochum/Germany)
* [[German as a Foreign Language B2]].2 for Chinese Students (Ruhr University Bochum/Germany)
* [[Comparing Cultures]] -- Students' contributions (Witten/Herdecke University/Germany) - co-taught Dr. M. Kettner / Dr. M. Woesler
* [[Traditional Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the earliest times through the Ming Dynasty.
* [[Modern Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the Qing Dynasty to today.
* [[Classical Chinese Literature]] -- Students' contributions (Utah Valley University/USA) - The history of Chinese Literature from the earliest times through the Ming Dynasty.
* [[Modern Chinese Literature]] - Students' contributions - (Utah Valley University/USA)
* [[Introduction to Chinese Studies]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Philosophy]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Culture and Film]] -- Students' contributions (Utah Valley University/USA) - Chinese Films- from the earliest days of movies in China to now and their changing representations of Modern Chinese Culture.
* [[Success in the China Related Job Market]] -- (Utah Valley University/USA) Timeline and Students' contributions

=Institutions and Chinese Studies Conferences=
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London (150 participants, 100 presentations online), [http://china-studies/wacs/WACS4PROGRAM.pdf program]
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, H. v. Senger, You Tianwei, Zhou Wenye organizers: WACS, GCA etc.
* 100th Anniversary of May Fourth Movement, Cologne, Dusseldorf, Witten
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, organizers: WACS, GCA etc.
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies - Celebrating the 60th Anniversary of the German China Association] August 19-20, 2017 Witten/Germany, host: Witten/Herdecke University, convener: M. Woesler, organizers: WACS, GCA etc.
* [http://china-studies.com/hlm/ Celebrating Cao Xueqin's 300th Anniversary - 3rd Int'l Dream of the Red Chamber Conference Europe] M. Woesler for Folkwang University Essen and Cao Xueqin Society (Peking/China) 2016
* [[Chinas Way 2|China's Way II - European Forum 2015 on the Chinese Path - Achievements and their reasons, Problems and their solutions]] Chinese Studies Conference, September 27, 2015 (Berlin, Germany), GCA (G. Paul/M. Woesler), Luxemburg Foundation & CASS. German version: [[Chinas Weg 2|Chinas Weg II - Europäisches Forum 2015 zum chinesischen Entwicklungsweg - Erfolge und Gründe, Probleme und Lösungen]]
* [[Chinas Way 1|China's Way I - European Forum 2014 on the Chinese Path]] Chinese Studies Conference, October 20, 2014 (Berlin, Germany), GCA (G. Paul/M. Woesler) & CASS. German version: [[Chinas Weg 1|Chinas Weg I - Europäisches Forum 2014 zum chinesischen Entwicklungsweg]]
* [[China and Europe]] Chinese Studies Conference, March 27-28, 2014 (Italy, Rome), L. Moccia/M. Woesler
* [[Creation and Consumption of Cultural Commodities]] December 13-16, 2013 (Wuhan, China), Wenqian G./S. Li et al. and M. Woesler/M. Kettner/M. Frühauf
* [[China and the Asia-Pacific]] 2nd UVU Chinese Studies Conference, March 7-8, 2013 (USA), M. Woesler
* [[China's Global Impact]] Inaugural UVU Chinese Studies Conference, March 23-25, 2012 (USA), M. Woesler

The indicated colleagues are the chairs and co-chairs of the Organizing Committees.

= Useful things =
* [[Speech scripts]]
* [[Free online tools to learn Chinese]] -- Students' contributions Fall 2011 - Chinese Language
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
<span style="color:red">'''.'''</span>

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2026-03-05T04:46:14Z

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=Courses=
Fall Semester 2025
*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Spring Semester 2025
*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*1 FRI 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Summer Semester 2025
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
Fall Semester 2024
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8, Lehrmaterial wird vom Lehrer gestellt, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 31.10.
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 , Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习, 周2,4,6,8,10,12,14,16 (跟范妮老师), Lehrbuch: 《当代大学德语听说训练》audio, paper, 1 13.9., 2 27.9., 3 25.10., 4 8.11., 5 22.11., 6 6.12., 7 20.12.
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）, Lehrbuch: 《德语初级听力》pdf and audio, 1 6.9., 2 13.9., 3 20.9., 4 27.9., 5 11.10., 6 18.10., 7 25.10., 8 1.11., 9 8.11., 10 15.11., 11 22.11., 12 29.11., 13 6.12., 14 13.12., 15 20.12., 16 27.12.
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题（智慧树网络课程）人文社会科学类全校 3 2 32 课时 2-12 0

Summer Semester 2024
*THU (8:00-9:30 s. 413) 9:45-11:15 s. 413 SIN II s. 413 MGR 文章写作 Praktyczna nauka języka chińskiego – '''kompozycja tekstu''' [[Text Comp 2024]] Sess1 Feb 29 8-9:30, Sess2 Feb 29 9:45-11:15, Sess3 Mar 21, 8:00-9:30, Sess4 Mar 21, 9:45-11:15, Sess5 Apr 4, 8:00-9:30, Sess6 Apr 4, 9:45-11:15, Sess7 Apr 11, 8:00-9:30, Sess8 Apr 11, 9:45-11:15, Sess9 Apr 18 8:00-9:30, Sess10 Apr 18, 9:45-11:15, Sess11 Apr 25 8:00-9:30, Sess 12 Apr 25, 9:45-11:15, Sess13 June 13 8:00-9:30, Sess14 June 13, 9:45-11:15, Sess15 MON Jun 17, 8:00-9:30, Sess16 MON Jun 17, 9:45-11:15, FinEx Jun 20, 8:00-9:30
*THU 11:30-13:00 s. 401 (13:15 14:45 s. 413) SIN I MGR 中國文化 '''Kultura chińska''' [[Chin Cult 2024]] Sess1 Feb 29 11:30-13:00, Sess2 Feb 29 13:15-14:45, Sess3 Mar 21, 11:30-13:00, Sess4 Mar 21, 13:15-14:45, Sess5 Apr 4, 11:30-13:00, Sess6 Apr 4, 13:15-14:45, Sess7 Apr 11, 11:30-13:00, Sess8 Apr 11, 13:15-14:45, Sess9 Apr 18 11:30, Sess10 13:15-14:45, Sess11 Apr 25 11:30-13:00, Sess 12 Apr 25, 13:15-14:45, Sess13 June 13 11:30-13:00, Sess14 June 13, 13:15-14:45, Sess15 MON Jun 17, 11:30-13:00, Sess16 MON Jun 17, 13:15-14:45, FinEx Jun 20, 11:30-13:00
*FRI (8:00-9:30 s. 400) 9:45-11:15 SIN III s. 424 中國文學-詩歌 Język chiński klasyczny – proza lub '''poezja''' [[Chin Poetry 2024]] s. 400/424 Sess1 Mar 1 8:00-9:30, Sess2 Mar 1 9:45-11:15, Sess3 Mar 22, 8:00-9:30, Sess4 Mar 22, 9:45-11:15, Sess5 Apr 5, 8:00-9:30, Sess6 Apr 5, 9:45-11:15, Sess7 Apr 12 8:00-9:30, Sess 8 Apr 12, 9:45-11:15, Sess9 Apr 19, 8:00-9:30, Sess10 Apr 19, 9:45-11:15, Sess11 Apr 26 8:00-9:30, Sess 12 Apr 26, 9:45-11:15, Sess13 June 14 8:00-9:30, Sess14 June 14, 9:45-11:15, Sess15 TUE Jun 18, 8:00-9:30, Sess16 TUE Jun 18, 9:45-11:15, FinEx Jun 21, 8:00-9:45

Co-taught courses in China
*WED 16:30-17:15 '''德语语法''' [[Germ Gramm 2024]] 30xBA2 22德 Wang Zhuochen (1-16,外国语学院大楼406教室09163042.011) S1 XS 28.2., S2 MW 6.3., S3 MW 13.3., S4 XS 20.3., S5 MW 27.3., S6 XS 3.4., S7 XS 10.4., S8 XS 17.4., S9 XS 24.4., S10 MW 8.5., S11 MW 15.5., S12 MW 22.5., S13 MW 29.5., S14 MW 5.6., S15 XS 12.6., Exam XS 19.6.
*THU 8:00-9:40 '''翻译理论与实践''' [[Trans TP 2024]] BA3 21德 Callie (单1-15.外国语学院大楼401教室 09163071.01) (S1 OD 29.2., S2 MW 14.3., S3 MW 28.3., S4 OD 11.4., S5 OD 25.4., S6 MW 9.5., S7 MW 23.5., S8 MW 6.6.)
*THU 8:00-9:40 '''德语语言学导论''' [[Germ Ling 2024]] BA3 21 Callie(双2-16.外国语学院大楼401教室 09163045.01) (S1 MW 7.3., S2 OD 21.3., S3 holiday 4.4., S4 OD 18.4., S5 OD 28.4. (make up for May 2), S6 MW 11.5., S7 MW 16.5., S8 MW 30.5., S9 OD 13.6.)
*FRI 8:00-9:40 '''中国文化概要''' [[Cult Ov 1 2024]] 603 BA2 22笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*FRI 10:00-11:40 '''中国文化概要''' [[Cult Ov 2 2024]] 404 BA2 22笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*Important conference dates: Changsha 29.3., 20.4., Poznan 20.-21.7.

*THU 9:45-11:15 MA2 sal. 401 (403 on additional dates: Nov 30 15:00-16:30, Dec 14 15:00-16:30) [[Practical Study of Chinese literature - text creation]] 文章写作 Praktyczna nauka jezyka chinskiego – kompozycja tekstu SIN m II 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*THU 11:30-13:00 MA1 sal. 401 [[Chinese Culture]] 中國文化 Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 8:00-9:30 BA3 sal. 424 (426 on additional dates: Dec 1, 8, 15 13:15-14:45) [[Classical Chinese Poetry and Prose]] 中國文學-散文 Jezyk chinski klasyczny SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 9:45-11:15 MA1 sal. 413 (424 on additional dates: Nov 30, Dec 7, Jan 18 8:00-9:30 413) [[Critical Review of Chinese Literature]] 中国文學反思 Krytyczny przeglad literatury chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
* September 2023 [[Literatur-Übersetzung Chinesisch-Deutsch]] MA, 汉德文学翻译，研究生（4人），32学时, Hunan Normal University, Changsha
* September 2023 [[Konversation Deutsch]] aktuelle Themen aus Gesellschaft und Kultur, BA, 德语口语，大二本科生（入门）（28人），16学时, Hunan Normal University, Changsha
* May-June [[Chinese Culture 2023]], Adam Mickiewicz University, Poznan
* Mon 18:30-21:10, Wed 19:00-21:40 [[Chinese Classics Translation Spring 2023]] 中華典籍外譯 MA, first session Tue 10-11:40 room 601
* Mon 8:00-9:40, Wed 13:00-14:40, Fri 13:00-14:40 602, first session Fri 8-9:40 604 中国文化概要 [[Introduction to Chinese Culture Spring 2023]] BA, (1-16,外国语学院大楼604机房 09161319.02)(1-16, Room 604, School of Foreign Languages Building 09161319.02)
* MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
* Friday 19:00-20:40 [[Chinese Language and Culture Fall 2022]] 87 MA students (starts Sep 30), fall term 2022, with Ole Döring, Cord Eberspächer
* Monday 14:30-16:10 [[Translation Theory ZH-DE 2022]] 29 BA students (starts Aug 29, weeks 1-16) 汉德翻译理论与实践 #腾讯会议：345-3281-9241, fall term 2022
* Monday 14:30-16:10 [[Foundations of Chinese Cultures 2022]] 29 BA students 中国文化基础(09166202.01) (starts Feb 21, weeks 1-16, 外国语学院大楼605机房) 20级翻译01班 jwglnew.hunnu.edu.cn, spring term 2022
* Friday 14:30-16:10 [[Chinese Classics Translation 2022]] 47+ MA students together with Prof. Cord Eberspaecher, class of 2020 Translation & Interpreting Major, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Friday 16:30-18:10 [[Chinese Language and Culture 2022]] 76+ MA students together with Prof. Cord Eberspaecher , class of 2020 Translation & Interpreting, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Wednesday 14:30-16:10 '''[[Introduction to Translation Studies 2021]]''' for MA students of 2021, fall term 2021, Hunan Normal University
* Wednesday 14:30-16:10 '''[[Foundations of Chinese Cultures 2021]]''' for BA students of 2019, spring term 2021, Hunan Normal University
* Corona - Scientific Methods and Ability of Dialogue, winter term 2021, Witten/Herdecke University
* Thursday 11:00-13:30 '''[[Childhood in China - Past and Present]]''' session in the seminar by Prof. David Martin '''Childhood and Development''', Jan 21, 2021, Witten/Herdecke University
* Monday 14:30-16:10 '''[[Chinese Languages and Cultures]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 16:30-18:10 '''[[Introduction to Translation Studies]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 19:00-20:40 '''[[German Phonetics]]''' for BA students of 2020, fall term 2020, Hunan Normal University, Tuesday 14:30-16:10 (8:30-10:30), Wednesday 16:30-18:10 (10:30-12:10 Uhr), Thursday 19:00-20:40 (13:00-14:40 Uhr), Friday 14:30-16:10 (8:30-10:10 Uhr)
* [[Basics of Chinese Culture]], summer term 2020, Hunan Normal University
* [[Cross Media Storytelling]], summer term 2020, Witten/Herdecke University
* [[Holism as a Concept]], summer term 2020, Witten/Herdecke University
* Introduction to Traditional Chinese Culture, winter term 2019/2020, Hunan Normal University
* Introduction to Translation Studies, winter term 2019/2020, Hunan Normal University
* Total Digitization – where is the place for humans?, winter term 2019/2020 Witten/Herdecke University
* How Social is Social Media?, winter term 2019/2020 Witten/Herdecke University
* Regional Digital Cultures - Disruptions (USA), Technology-Skip (Africa), Privacy Discussions (Europe), AI-Controlled Society (China) , winter term 2019/2020 Witten/Herdecke University
* [[Networks, Protocols, Authority]] Netzwerke - Protokolle - Macht - summer term 2019 Leuphana University Lueneburg, with Martin Warnke
* [[Propaganda_-_Die_Rhetorik]] (Propaganda - Rhetorics) Propaganda - Die Rhetorik - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/y6npurbn
* [[Meisterwerke_chinesischer_Dichtkunst]] (Master Pieces of Chinese Poetry) Meisterwerke chinesischer Dichtkunst - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/yymdbm39
* [[Crosscultural Comparison of Literary Works]] Literaturwerke verschiedener Kulturen im Direktvergleich - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/Fj4yeU
* [[Digitalization models in China, the US and Europe|Digitization models in China, the US and Europe]] - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/ZnbY6V
* [[China - Alternative to Western Societies?]] China – techno-autoritäre Alternative zur freiheitlich-westlichen Demokratie? - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/8fxyU7
* [[Ride through World Literature]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[New (old) world power China. Today's foreign policy and political philosophical origins]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[International Sinology]] - spring term 2018 (Beijing Normal University/China)
* [[Introduction to Foreign Literature 2018]] - spring term 2018 (Beijing Normal University/China)
* [[Myth of Immortality / Mythos Unsterblichkeit]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Motifs of World Literature / Motive der Weltliteratur]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Research on the Overseas Distribution of Chinese Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Selected Research Topics in Comparative Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Internet in China]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Education in Dictatorships]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Early Western Translations of the Dream of the Red Chamber]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Introduction to Foreign Literature]] - spring term 2017 (Beijing Normal University/China)
* [[Mass communication in the Age of New Media]] - winter term 2016 (Witten/Herdecke University/Germany)
* [[First encounters between distant cultures]] - and the earliest translations of literature, focusing on China (from the German/European perspective) - winter term 2016 (Witten/Herdecke University/Germany)
* [[Dissemination of Chinese Literature abroad]] - fall term 2016 (Beijing Normal University/China)
* [[Translated Literature]] - fall term 2016 (Beijing Normal University/China)
* [[Communication 4.0]] - New experimental communication apps (in China, the US and Europe) - summer term 2016 (Witten/Herdecke University/Germany)
* [[Internationale Softpower - mit einem Fokus auf China]] - summer term 2016 (Witten/Herdecke University/Germany)
* [[Modern Chinese Literature]] - Students' contributions - (Peking Normal University/China)
* [[Resolving Conflicts, Finding Compromises, Understanding Each Other]] -- summer term 2015 (Witten/Herdecke University/Germany)
* Early reception and translations of the Dream of the Red Chamber -- summer term 2015 (Nanking Normal University/China)
* [[EU-China Multi-level Comparison]] -- winter term 2014/2015 (Università Roma Tre/Italy)
* [[The Other]] -- winter term 2014/2015 (Witten/Herdecke University/Germany)
* [[Cultural memory and the Cultural Revolution]] -- summer term 2014 (Witten/Herdecke Universit/Germany)
* [[Communicating better]] -- summer term 2014 (Witten/Herdecke University/Germany)
* [[China and us]] -- winter term 2013/2014 (Witten/Herdecke University/Germany)
* [[Reading Course]] -- winter term 2013/2014 (Ruhr University Bochum/Germany)
* [[German as a Foreign Language B2]].2 for Chinese Students (Ruhr University Bochum/Germany)
* [[Comparing Cultures]] -- Students' contributions (Witten/Herdecke University/Germany) - co-taught Dr. M. Kettner / Dr. M. Woesler
* [[Traditional Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the earliest times through the Ming Dynasty.
* [[Modern Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the Qing Dynasty to today.
* [[Classical Chinese Literature]] -- Students' contributions (Utah Valley University/USA) - The history of Chinese Literature from the earliest times through the Ming Dynasty.
* [[Modern Chinese Literature]] - Students' contributions - (Utah Valley University/USA)
* [[Introduction to Chinese Studies]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Philosophy]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Culture and Film]] -- Students' contributions (Utah Valley University/USA) - Chinese Films- from the earliest days of movies in China to now and their changing representations of Modern Chinese Culture.
* [[Success in the China Related Job Market]] -- (Utah Valley University/USA) Timeline and Students' contributions

=Institutions and Chinese Studies Conferences=
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London (150 participants, 100 presentations online), [http://china-studies/wacs/WACS4PROGRAM.pdf program]
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, H. v. Senger, You Tianwei, Zhou Wenye organizers: WACS, GCA etc.
* 100th Anniversary of May Fourth Movement, Cologne, Dusseldorf, Witten
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, organizers: WACS, GCA etc.
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies - Celebrating the 60th Anniversary of the German China Association] August 19-20, 2017 Witten/Germany, host: Witten/Herdecke University, convener: M. Woesler, organizers: WACS, GCA etc.
* [http://china-studies.com/hlm/ Celebrating Cao Xueqin's 300th Anniversary - 3rd Int'l Dream of the Red Chamber Conference Europe] M. Woesler for Folkwang University Essen and Cao Xueqin Society (Peking/China) 2016
* [[Chinas Way 2|China's Way II - European Forum 2015 on the Chinese Path - Achievements and their reasons, Problems and their solutions]] Chinese Studies Conference, September 27, 2015 (Berlin, Germany), GCA (G. Paul/M. Woesler), Luxemburg Foundation & CASS. German version: [[Chinas Weg 2|Chinas Weg II - Europäisches Forum 2015 zum chinesischen Entwicklungsweg - Erfolge und Gründe, Probleme und Lösungen]]
* [[Chinas Way 1|China's Way I - European Forum 2014 on the Chinese Path]] Chinese Studies Conference, October 20, 2014 (Berlin, Germany), GCA (G. Paul/M. Woesler) & CASS. German version: [[Chinas Weg 1|Chinas Weg I - Europäisches Forum 2014 zum chinesischen Entwicklungsweg]]
* [[China and Europe]] Chinese Studies Conference, March 27-28, 2014 (Italy, Rome), L. Moccia/M. Woesler
* [[Creation and Consumption of Cultural Commodities]] December 13-16, 2013 (Wuhan, China), Wenqian G./S. Li et al. and M. Woesler/M. Kettner/M. Frühauf
* [[China and the Asia-Pacific]] 2nd UVU Chinese Studies Conference, March 7-8, 2013 (USA), M. Woesler
* [[China's Global Impact]] Inaugural UVU Chinese Studies Conference, March 23-25, 2012 (USA), M. Woesler

The indicated colleagues are the chairs and co-chairs of the Organizing Committees.

= Useful things =
* [[Speech scripts]]
* [[Free online tools to learn Chinese]] -- Students' contributions Fall 2011 - Chinese Language
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
<span style="color:red">'''.'''</span>

Main Page

2026-02-21T19:25:14Z

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=Courses=
Fall Semester 2025
*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Spring Semester 2025
*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*1 FRI 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Summer Semester 2025
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
Fall Semester 2024
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8, Lehrmaterial wird vom Lehrer gestellt, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 31.10.
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 , Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习, 周2,4,6,8,10,12,14,16 (跟范妮老师), Lehrbuch: 《当代大学德语听说训练》audio, paper, 1 13.9., 2 27.9., 3 25.10., 4 8.11., 5 22.11., 6 6.12., 7 20.12.
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）, Lehrbuch: 《德语初级听力》pdf and audio, 1 6.9., 2 13.9., 3 20.9., 4 27.9., 5 11.10., 6 18.10., 7 25.10., 8 1.11., 9 8.11., 10 15.11., 11 22.11., 12 29.11., 13 6.12., 14 13.12., 15 20.12., 16 27.12.
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题（智慧树网络课程）人文社会科学类全校 3 2 32 课时 2-12 0

Summer Semester 2024
*THU (8:00-9:30 s. 413) 9:45-11:15 s. 413 SIN II s. 413 MGR 文章写作 Praktyczna nauka języka chińskiego – '''kompozycja tekstu''' [[Text Comp 2024]] Sess1 Feb 29 8-9:30, Sess2 Feb 29 9:45-11:15, Sess3 Mar 21, 8:00-9:30, Sess4 Mar 21, 9:45-11:15, Sess5 Apr 4, 8:00-9:30, Sess6 Apr 4, 9:45-11:15, Sess7 Apr 11, 8:00-9:30, Sess8 Apr 11, 9:45-11:15, Sess9 Apr 18 8:00-9:30, Sess10 Apr 18, 9:45-11:15, Sess11 Apr 25 8:00-9:30, Sess 12 Apr 25, 9:45-11:15, Sess13 June 13 8:00-9:30, Sess14 June 13, 9:45-11:15, Sess15 MON Jun 17, 8:00-9:30, Sess16 MON Jun 17, 9:45-11:15, FinEx Jun 20, 8:00-9:30
*THU 11:30-13:00 s. 401 (13:15 14:45 s. 413) SIN I MGR 中國文化 '''Kultura chińska''' [[Chin Cult 2024]] Sess1 Feb 29 11:30-13:00, Sess2 Feb 29 13:15-14:45, Sess3 Mar 21, 11:30-13:00, Sess4 Mar 21, 13:15-14:45, Sess5 Apr 4, 11:30-13:00, Sess6 Apr 4, 13:15-14:45, Sess7 Apr 11, 11:30-13:00, Sess8 Apr 11, 13:15-14:45, Sess9 Apr 18 11:30, Sess10 13:15-14:45, Sess11 Apr 25 11:30-13:00, Sess 12 Apr 25, 13:15-14:45, Sess13 June 13 11:30-13:00, Sess14 June 13, 13:15-14:45, Sess15 MON Jun 17, 11:30-13:00, Sess16 MON Jun 17, 13:15-14:45, FinEx Jun 20, 11:30-13:00
*FRI (8:00-9:30 s. 400) 9:45-11:15 SIN III s. 424 中國文學-詩歌 Język chiński klasyczny – proza lub '''poezja''' [[Chin Poetry 2024]] s. 400/424 Sess1 Mar 1 8:00-9:30, Sess2 Mar 1 9:45-11:15, Sess3 Mar 22, 8:00-9:30, Sess4 Mar 22, 9:45-11:15, Sess5 Apr 5, 8:00-9:30, Sess6 Apr 5, 9:45-11:15, Sess7 Apr 12 8:00-9:30, Sess 8 Apr 12, 9:45-11:15, Sess9 Apr 19, 8:00-9:30, Sess10 Apr 19, 9:45-11:15, Sess11 Apr 26 8:00-9:30, Sess 12 Apr 26, 9:45-11:15, Sess13 June 14 8:00-9:30, Sess14 June 14, 9:45-11:15, Sess15 TUE Jun 18, 8:00-9:30, Sess16 TUE Jun 18, 9:45-11:15, FinEx Jun 21, 8:00-9:45

Co-taught courses in China
*WED 16:30-17:15 '''德语语法''' [[Germ Gramm 2024]] 30xBA2 22德 Wang Zhuochen (1-16,外国语学院大楼406教室09163042.011) S1 XS 28.2., S2 MW 6.3., S3 MW 13.3., S4 XS 20.3., S5 MW 27.3., S6 XS 3.4., S7 XS 10.4., S8 XS 17.4., S9 XS 24.4., S10 MW 8.5., S11 MW 15.5., S12 MW 22.5., S13 MW 29.5., S14 MW 5.6., S15 XS 12.6., Exam XS 19.6.
*THU 8:00-9:40 '''翻译理论与实践''' [[Trans TP 2024]] BA3 21德 Callie (单1-15.外国语学院大楼401教室 09163071.01) (S1 OD 29.2., S2 MW 14.3., S3 MW 28.3., S4 OD 11.4., S5 OD 25.4., S6 MW 9.5., S7 MW 23.5., S8 MW 6.6.)
*THU 8:00-9:40 '''德语语言学导论''' [[Germ Ling 2024]] BA3 21 Callie(双2-16.外国语学院大楼401教室 09163045.01) (S1 MW 7.3., S2 OD 21.3., S3 holiday 4.4., S4 OD 18.4., S5 OD 28.4. (make up for May 2), S6 MW 11.5., S7 MW 16.5., S8 MW 30.5., S9 OD 13.6.)
*FRI 8:00-9:40 '''中国文化概要''' [[Cult Ov 1 2024]] 603 BA2 22笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*FRI 10:00-11:40 '''中国文化概要''' [[Cult Ov 2 2024]] 404 BA2 22笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*Important conference dates: Changsha 29.3., 20.4., Poznan 20.-21.7.

*THU 9:45-11:15 MA2 sal. 401 (403 on additional dates: Nov 30 15:00-16:30, Dec 14 15:00-16:30) [[Practical Study of Chinese literature - text creation]] 文章写作 Praktyczna nauka jezyka chinskiego – kompozycja tekstu SIN m II 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*THU 11:30-13:00 MA1 sal. 401 [[Chinese Culture]] 中國文化 Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 8:00-9:30 BA3 sal. 424 (426 on additional dates: Dec 1, 8, 15 13:15-14:45) [[Classical Chinese Poetry and Prose]] 中國文學-散文 Jezyk chinski klasyczny SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 9:45-11:15 MA1 sal. 413 (424 on additional dates: Nov 30, Dec 7, Jan 18 8:00-9:30 413) [[Critical Review of Chinese Literature]] 中国文學反思 Krytyczny przeglad literatury chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
* September 2023 [[Literatur-Übersetzung Chinesisch-Deutsch]] MA, 汉德文学翻译，研究生（4人），32学时, Hunan Normal University, Changsha
* September 2023 [[Konversation Deutsch]] aktuelle Themen aus Gesellschaft und Kultur, BA, 德语口语，大二本科生（入门）（28人），16学时, Hunan Normal University, Changsha
* May-June [[Chinese Culture 2023]], Adam Mickiewicz University, Poznan
* Mon 18:30-21:10, Wed 19:00-21:40 [[Chinese Classics Translation Spring 2023]] 中華典籍外譯 MA, first session Tue 10-11:40 room 601
* Mon 8:00-9:40, Wed 13:00-14:40, Fri 13:00-14:40 602, first session Fri 8-9:40 604 中国文化概要 [[Introduction to Chinese Culture Spring 2023]] BA, (1-16,外国语学院大楼604机房 09161319.02)(1-16, Room 604, School of Foreign Languages Building 09161319.02)
* MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
* Friday 19:00-20:40 [[Chinese Language and Culture Fall 2022]] 87 MA students (starts Sep 30), fall term 2022, with Ole Döring, Cord Eberspächer
* Monday 14:30-16:10 [[Translation Theory ZH-DE 2022]] 29 BA students (starts Aug 29, weeks 1-16) 汉德翻译理论与实践 #腾讯会议：345-3281-9241, fall term 2022
* Monday 14:30-16:10 [[Foundations of Chinese Cultures 2022]] 29 BA students 中国文化基础(09166202.01) (starts Feb 21, weeks 1-16, 外国语学院大楼605机房) 20级翻译01班 jwglnew.hunnu.edu.cn, spring term 2022
* Friday 14:30-16:10 [[Chinese Classics Translation 2022]] 47+ MA students together with Prof. Cord Eberspaecher, class of 2020 Translation & Interpreting Major, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Friday 16:30-18:10 [[Chinese Language and Culture 2022]] 76+ MA students together with Prof. Cord Eberspaecher , class of 2020 Translation & Interpreting, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Wednesday 14:30-16:10 '''[[Introduction to Translation Studies 2021]]''' for MA students of 2021, fall term 2021, Hunan Normal University
* Wednesday 14:30-16:10 '''[[Foundations of Chinese Cultures 2021]]''' for BA students of 2019, spring term 2021, Hunan Normal University
* Corona - Scientific Methods and Ability of Dialogue, winter term 2021, Witten/Herdecke University
* Thursday 11:00-13:30 '''[[Childhood in China - Past and Present]]''' session in the seminar by Prof. David Martin '''Childhood and Development''', Jan 21, 2021, Witten/Herdecke University
* Monday 14:30-16:10 '''[[Chinese Languages and Cultures]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 16:30-18:10 '''[[Introduction to Translation Studies]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 19:00-20:40 '''[[German Phonetics]]''' for BA students of 2020, fall term 2020, Hunan Normal University, Tuesday 14:30-16:10 (8:30-10:30), Wednesday 16:30-18:10 (10:30-12:10 Uhr), Thursday 19:00-20:40 (13:00-14:40 Uhr), Friday 14:30-16:10 (8:30-10:10 Uhr)
* [[Basics of Chinese Culture]], summer term 2020, Hunan Normal University
* [[Cross Media Storytelling]], summer term 2020, Witten/Herdecke University
* [[Holism as a Concept]], summer term 2020, Witten/Herdecke University
* Introduction to Traditional Chinese Culture, winter term 2019/2020, Hunan Normal University
* Introduction to Translation Studies, winter term 2019/2020, Hunan Normal University
* Total Digitization – where is the place for humans?, winter term 2019/2020 Witten/Herdecke University
* How Social is Social Media?, winter term 2019/2020 Witten/Herdecke University
* Regional Digital Cultures - Disruptions (USA), Technology-Skip (Africa), Privacy Discussions (Europe), AI-Controlled Society (China) , winter term 2019/2020 Witten/Herdecke University
* [[Networks, Protocols, Authority]] Netzwerke - Protokolle - Macht - summer term 2019 Leuphana University Lueneburg, with Martin Warnke
* [[Propaganda_-_Die_Rhetorik]] (Propaganda - Rhetorics) Propaganda - Die Rhetorik - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/y6npurbn
* [[Meisterwerke_chinesischer_Dichtkunst]] (Master Pieces of Chinese Poetry) Meisterwerke chinesischer Dichtkunst - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/yymdbm39
* [[Crosscultural Comparison of Literary Works]] Literaturwerke verschiedener Kulturen im Direktvergleich - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/Fj4yeU
* [[Digitalization models in China, the US and Europe|Digitization models in China, the US and Europe]] - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/ZnbY6V
* [[China - Alternative to Western Societies?]] China – techno-autoritäre Alternative zur freiheitlich-westlichen Demokratie? - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/8fxyU7
* [[Ride through World Literature]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[New (old) world power China. Today's foreign policy and political philosophical origins]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[International Sinology]] - spring term 2018 (Beijing Normal University/China)
* [[Introduction to Foreign Literature 2018]] - spring term 2018 (Beijing Normal University/China)
* [[Myth of Immortality / Mythos Unsterblichkeit]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Motifs of World Literature / Motive der Weltliteratur]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Research on the Overseas Distribution of Chinese Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Selected Research Topics in Comparative Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Internet in China]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Education in Dictatorships]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Early Western Translations of the Dream of the Red Chamber]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Introduction to Foreign Literature]] - spring term 2017 (Beijing Normal University/China)
* [[Mass communication in the Age of New Media]] - winter term 2016 (Witten/Herdecke University/Germany)
* [[First encounters between distant cultures]] - and the earliest translations of literature, focusing on China (from the German/European perspective) - winter term 2016 (Witten/Herdecke University/Germany)
* [[Dissemination of Chinese Literature abroad]] - fall term 2016 (Beijing Normal University/China)
* [[Translated Literature]] - fall term 2016 (Beijing Normal University/China)
* [[Communication 4.0]] - New experimental communication apps (in China, the US and Europe) - summer term 2016 (Witten/Herdecke University/Germany)
* [[Internationale Softpower - mit einem Fokus auf China]] - summer term 2016 (Witten/Herdecke University/Germany)
* [[Modern Chinese Literature]] - Students' contributions - (Peking Normal University/China)
* [[Resolving Conflicts, Finding Compromises, Understanding Each Other]] -- summer term 2015 (Witten/Herdecke University/Germany)
* Early reception and translations of the Dream of the Red Chamber -- summer term 2015 (Nanking Normal University/China)
* [[EU-China Multi-level Comparison]] -- winter term 2014/2015 (Università Roma Tre/Italy)
* [[The Other]] -- winter term 2014/2015 (Witten/Herdecke University/Germany)
* [[Cultural memory and the Cultural Revolution]] -- summer term 2014 (Witten/Herdecke Universit/Germany)
* [[Communicating better]] -- summer term 2014 (Witten/Herdecke University/Germany)
* [[China and us]] -- winter term 2013/2014 (Witten/Herdecke University/Germany)
* [[Reading Course]] -- winter term 2013/2014 (Ruhr University Bochum/Germany)
* [[German as a Foreign Language B2]].2 for Chinese Students (Ruhr University Bochum/Germany)
* [[Comparing Cultures]] -- Students' contributions (Witten/Herdecke University/Germany) - co-taught Dr. M. Kettner / Dr. M. Woesler
* [[Traditional Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the earliest times through the Ming Dynasty.
* [[Modern Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the Qing Dynasty to today.
* [[Classical Chinese Literature]] -- Students' contributions (Utah Valley University/USA) - The history of Chinese Literature from the earliest times through the Ming Dynasty.
* [[Modern Chinese Literature]] - Students' contributions - (Utah Valley University/USA)
* [[Introduction to Chinese Studies]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Philosophy]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Culture and Film]] -- Students' contributions (Utah Valley University/USA) - Chinese Films- from the earliest days of movies in China to now and their changing representations of Modern Chinese Culture.
* [[Success in the China Related Job Market]] -- (Utah Valley University/USA) Timeline and Students' contributions

=Institutions and Chinese Studies Conferences=
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London (150 participants, 100 presentations online), [http://china-studies/wacs/WACS4PROGRAM.pdf program]
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, H. v. Senger, You Tianwei, Zhou Wenye organizers: WACS, GCA etc.
* 100th Anniversary of May Fourth Movement, Cologne, Dusseldorf, Witten
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, organizers: WACS, GCA etc.
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies - Celebrating the 60th Anniversary of the German China Association] August 19-20, 2017 Witten/Germany, host: Witten/Herdecke University, convener: M. Woesler, organizers: WACS, GCA etc.
* [http://china-studies.com/hlm/ Celebrating Cao Xueqin's 300th Anniversary - 3rd Int'l Dream of the Red Chamber Conference Europe] M. Woesler for Folkwang University Essen and Cao Xueqin Society (Peking/China) 2016
* [[Chinas Way 2|China's Way II - European Forum 2015 on the Chinese Path - Achievements and their reasons, Problems and their solutions]] Chinese Studies Conference, September 27, 2015 (Berlin, Germany), GCA (G. Paul/M. Woesler), Luxemburg Foundation & CASS. German version: [[Chinas Weg 2|Chinas Weg II - Europäisches Forum 2015 zum chinesischen Entwicklungsweg - Erfolge und Gründe, Probleme und Lösungen]]
* [[Chinas Way 1|China's Way I - European Forum 2014 on the Chinese Path]] Chinese Studies Conference, October 20, 2014 (Berlin, Germany), GCA (G. Paul/M. Woesler) & CASS. German version: [[Chinas Weg 1|Chinas Weg I - Europäisches Forum 2014 zum chinesischen Entwicklungsweg]]
* [[China and Europe]] Chinese Studies Conference, March 27-28, 2014 (Italy, Rome), L. Moccia/M. Woesler
* [[Creation and Consumption of Cultural Commodities]] December 13-16, 2013 (Wuhan, China), Wenqian G./S. Li et al. and M. Woesler/M. Kettner/M. Frühauf
* [[China and the Asia-Pacific]] 2nd UVU Chinese Studies Conference, March 7-8, 2013 (USA), M. Woesler
* [[China's Global Impact]] Inaugural UVU Chinese Studies Conference, March 23-25, 2012 (USA), M. Woesler

The indicated colleagues are the chairs and co-chairs of the Organizing Committees.

= Useful things =
* [[Speech scripts]]
* [[Free online tools to learn Chinese]] -- Students' contributions Fall 2011 - Chinese Language
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
<span style="color:red">'''.'''</span>

User:Chen Yujia

2026-02-21T19:21:16Z

Root: Created page with "==Final Exam Paper== ===The Three Carvings of Huizhou=== ====Introduction==== The Three Carvings of Huizhou are outstanding representatives of traditional Chinese architectur..."

==Final Exam Paper==
===The Three Carvings of Huizhou===

====Introduction====
The Three Carvings of Huizhou are outstanding representatives of traditional Chinese architectural carving art, mainly passed down in the ancient Huizhou region, including present-day Huangshan City, Anhui Province and Wuyuan County, Jiangxi Province, etc. It includes three forms: wood carving, stone carving and brick carving. They are not only the core decorative elements of Huizhou-style architecture, but also integrate practical functions, aesthetic values and cultural connotations, vividly demonstrating the exquisite craftsmanship, profound cultural heritage and unique aesthetic orientation of the Huizhou region during the Ming and Qing Dynasties. As the solidification and expression of Huizhou culture in the material space, the three-carving art has weathered hundreds of years of wind and rain, and still tells the world about the economic prosperity, social ethics and spiritual pursuits of that era to this day.

====Concept====
The Three Carvings of Huizhou refer to three types of architectural and decorative carvings popular in the Huizhou region - wood carvings, stone carvings and brick carvings. Together, they constitute the artistic language of Huizhou-style architecture, which combines structure, decoration and symbolism, and is an important branch of traditional Chinese sculpture art. Wood carvings are warm and gentle inside, stone carvings are solemn on the outside, and brick carvings are delicate and transitional. The three complement each other, forming a spatial decoration sequence from indoor to outdoor, from private to public, which greatly enhances the overall artistic quality of the building.

====Historical Background====
The rise and prosperity of the Three Carvings of Huizhou were closely related to the economic, cultural and social development of the Huizhou region during the Ming and Qing Dynasties. After accumulating wealth, many Huizhou merchants returned to their hometowns to build mansions, ancestral halls, archways and so on. The abundant wealth of Huizhou merchants laid a solid foundation for the development of the "Three Carvings". These "merchants who love Confucianism" have devoted their huge financial resources and profound cultural literacy to the construction of their hometowns. They not only pursue the grandeur and sturdiness of the buildings but also strive to enhance their cultural taste and artistic expressiveness, thus providing an unprecedented market demand and creative stage for the art of sculpture. They emphasized the artistry and cultural expression of architecture, promoting the highly developed art of sculpture. Meanwhile, the abundant local resources of wood, bluestone and clay in Huizhou provide high-quality materials for the three carvings. Under the influence of regional cultures such as Cheng-Zhu Neo-Confucianism and Xin 'an School of Painting, the three carvings gradually formed an artistic system with complete techniques and rich connotations.

====Main Classifications and Artistic Features====
Although the three carvings of Huizhou form an organic whole, they each present distinct artistic features based on the differences in materials, craftsmanship and uses. The three carvings of Huizhou can be classified into three types according to their materials and craftsmanship: wood carvings, stone carvings and brick carvings.

（1）Woodcarving
Woodcarving is the most widely used and richly expressed art form among the three carvings of Huizhou. It is mainly found in the interior Spaces of buildings and wooden components, such as beams, brackets, partition doors, window lattices and furniture, etc. The warm texture and malleability of wood make it an ideal medium for carrying complex narratives and delicate emotions, perfectly meeting the demand of Huizhou courtyards for creating a humanistic atmosphere in the interior space. Its subjects are all-encompassing, including auspicious patterns, historical opera stories that promote loyalty, filial piety, chastity and righteousness, landscapes and pavilions with the charm of scholars, as well as vivid and simple daily life scenes. In terms of techniques, "The main characteristics of Huizhou woodcarving are four techniques: flat carving, low relief carving, deep relief carving and through carving (hollow carving)." The knife work is delicate and smooth, the composition is full and the layers are distinct, striving to create a profound three-dimensional spatial sense and a vivid narrative of the picture within the limited thickness. His representative works include the carvings on the partition doors of the "Woodcarving House" in Lucun, Yi County, and the carvings on the beams and frames of the Chengzhi. Hall in Hongcun.

（2）Stone carving
Stone carving is known for their hard material, simple and ancient style, and solemn meaning. They are often used for the exterior highlights and load-bearing structures of buildings. Its applications are mainly concentrated in places such as archways, door covers, drumming stones, stone lions, railings and the bases of ancestral halls. The permanence of stone makes it naturally suitable for carrying the commemorative function of setting an example for future generations and demonstrating merit. Therefore, stone carvings are often the most public and symbolic artistic expressions in Huizhou architecture. Mostly local stones such as "Yixian Qing" are used, which are solid in texture and durable and wear-resistant. It is not only conducive to fine carving but also can resist the erosion of wind and rain, which is the material basis for the charm of Huizhou stone carving art. The subject matter of Huizhou stone carvings is limited by the carving materials themselves. Youdaoplaceholder0 is less complex than that of wood carvings and brick carvings. Youdaoplaceholder1 mainly consists of images of animals and plants and ancient patterns. As for figures, stories and landscapes, they are relatively rare. Due to the limitations of material properties, its main techniques are relief carving and round carving. The lines are vigorous and concise, and the style pursues a grand and solemn atmosphere. It pays attention to the volume sense and light and shadow effect of the overall block surface, which forms a sharp contrast with the elaborate and delicate wood carvings. The Xu Guo Stone Workshop in Shexian County is its ultimate masterpiece.

（3）Brick Carvings
"Brick carvings, commonly known as flower bricks, make a sound when struck but have no holes when broken." It is an art form carved on specially made blue bricks, combining the delicacy of wood carvings with the durability of stone carvings, and can be regarded as the "finishing touch" of Huizhou-style architectural gate towers. Brick carvings lie between wood and stone in terms of material. They not only have certain carvings but also can withstand outdoor climates, thus becoming an ideal choice for decorating the exterior facades of buildings. It is mainly applied to the gate towers, door canopies, screen walls, window lintels, roof ridges and other parts of buildings. The production process is complex, from selecting soil and refining clay to firing bricks and then elaborately carving, with extremely high requirements. Brick carvings cover a wide range of subjects and are particularly skilled at depicting dramatic stories and folk scenes with numerous characters and grand scenes through the unique technique of "multi-layer through-carving". This technique can carve multiple layers in front and back on brick blanks with limited thickness. The scenes are interspersed in front and back, presenting a delicate and transparent appearance with a strong sense of space. The exquisite brick-carved gatehouse is an important symbol of the owner's status and taste. There are a large number of examples of exquisite craftsmanship preserved in places such as Qiankou Minzhai in Huizhou District.

====Cultural Significance and Contemporary Value====
"The elegance of brick carvings, the magnificence of wood carvings, and the boldness of stone carvings - it is precisely because of their distinct characteristics that they offer people different kinds of enjoyment. The three complement each other and none can be missing." The Three Carvings of Huizhou are not only a kind of craftsmanship but also an important carrier of Huizhou culture. They embody the humanistic spirit of Huizhou people who Revere Confucian ethics, pursue auspiciousness and happiness, and are close to nature. In composition, it emphasizes symmetry and rhythm, and has a high degree of artistic unity. Today, the Three Carvings of Huizhou have been included in the national intangible cultural heritage. Through protection, inheritance and innovation, their artistic value and cultural connotation have been continued, and they provide useful references for contemporary art and cultural construction.

====Conclusion====
As the soul of Huizhou-style architecture, the Three Carvings of Huizhou embody the wisdom and emotions of the people of Huizhou and are treasures of traditional Chinese craftsmanship and regional culture. "Regardless of the passage of time, she always exudes a captivating fragrance with regional characteristics. Every time one enters the alleys of ancient Huizhou, they carry the ancient charm witnessed by the passage of time and the profound color of folk art, providing viewers with aesthetic enlightenment and inspiration."

====Terms and Expressions====

The Three Carvings of Huizhou：徽州三雕

Huizhou-style architecture：徽派建筑

Woodcarving：木雕

Stone carving：石雕

Brick Carvings：砖雕

flat carving：平面雕

low relief carving：浅浮雕

deep relief carving：深浮雕

through carving：透雕

round carving：圆雕

multi-layer through-carving：多层透雕

Yixian Qing：黟县青

brackets：雀替

door covers：门罩

Huizhou merchants：徽商

merchants who love Confucianism：贾而好儒

Cheng-Zhu Neo-Confucianism：程朱理学

Xin 'an School of Painting：新安画派

loyalty, filial piety, chastity and righteousness：忠孝节义

intangible cultural heritage：非物质文化遗产

====Questions====

1.Which three types of carvings are specifically referred to as the "Three Carvings of Huizhou"?

2. In which architectural style are the Three Carvings of Huizhou mainly used?

3. What are the two most commonly used carving techniques in Huizhou woodcarving?

4. What is the most distinctive technique of Huizhou brick carving?

5. To which category of cultural heritage does the Three Carvings of Huizhou belong?

====Answers====

1.Wood carvings, stone carvings, brick carvings.

2.Huizhou-style architecture.

3.Through carvings and round carvings.

4.Multi-layer through-carving.

5. Intangible cultural heritage.

====References====

[1]吴玉红 Wu Yuhong.徽州“三雕”的成因及艺术特色[The causes and artistic features of the "Three Carvings" in Huizhou][J].美术 Art,2008,(10):106-109.

[2]程小武 Cheng Xiaowu.论徽州建筑雕作艺术[On the Art of Architectural Carving in Huizhou] [J].艺术百家 Hundred Schools in Arts,2006,(04):89-93.

[3]王舒 Wang Shu.徽州雕刻艺术特色浅析[A Brief Analysis of the Characteristics of Huizhou Carving Art] [J].美术大观 A Broad View of Art,2018,(09):84-85.

[4]杨文 Yang Wen.论徽州古建筑“三雕”之美[On the Beauty of the "Three Carvings" in Ancient Huizhou Architecture] [J].包装世界Packaging World,2010,(04):84-85.

[5]罗先松 Luo Xiansong.浅谈徽州古建筑中的三雕艺术[A Brief Discussion on the Three-Carving Art in Ancient Huizhou Architecture] [J].工程与建设 Engineering and Construction,2009,23(01):32-33+88.

[6]吴怡 Wu Yi.徽州古村落中的三雕艺术[The three-carving art in ancient villages of Huizhou] [J].扬州职业大学学报 Journal of Yangzhou Vocational University,2002,(02):18-20+36.

===徽州三雕===

====引言====

徽州三雕是中国传统建筑雕刻艺术的杰出代表，主要流传于古徽州地区，包括今安徽省黄山市及江西省婺源县等地。其包括木雕、石雕与砖雕三种形式。他们不仅是徽派建筑的核心装饰元素，更融合了实用功能、美学价值与文化内涵，集中展现了明清时期徽州地区精湛的工艺技艺、深厚的文化底蕴与独特的审美取向。作为徽州文化在物质空间上的凝固与表达，三雕艺术穿越数百年的风雨，至今仍向世人诉说着那个时代的经济繁荣、社会伦理与精神追求。

====概念====

徽州三雕指流行于徽州地区的三种建筑装饰雕刻——木雕、石雕与砖雕。它们共同构成徽派建筑的艺术语言，兼具结构性、装饰性与象征性，是中国传统雕刻艺术的重要分支。木雕温润于内，石雕庄重对外，砖雕精巧过渡，三者相辅相成，形成了从室内到室外、从私密到公共的空间装饰序列，极大地提升了建筑的整体艺术品格。

====历史背景====

徽州三雕的兴起与繁盛，与明清时期徽州地区的经济、文化与社会发展密切相关。徽商在积累财富后，多返乡兴建宅院、祠堂、牌坊等。“殷实的徽商财富奠定了‘三雕’的坚实发展基础。”这些“贾而好儒”的商贾，将巨大的财力与深厚的文化素养投入故里建设，不仅追求建筑的宏伟坚固，更极力追求其文化品位与艺术表现力，从而为雕刻艺术提供了前所未有的市场需求和创作舞台。他们注重建筑的艺术性与文化表达，推动了雕刻艺术的高度发展。同时，徽州本地丰富的木材、青石与黏土资源，为三雕提供了优质材料。在地域文化如程朱理学、新安画派等影响下，三雕逐渐形成技艺完整、内涵丰富的艺术体系。

====主要分类与艺术特色====

徽州三雕虽为一有机整体，但根据材质、工艺与用途的不同，又各自呈现出鲜明的艺术特色。徽州三雕根据材质与工艺可分为木雕、石雕与砖雕三类。

（一）木雕

木雕是徽州三雕中应用最广泛、表现最丰富的艺术形式。它主要见于建筑的内部空间和木质构件上，如梁架、雀替、隔扇门、窗棂及家具等。木材的温润质感与可塑性，使其成为承载繁复叙事和细腻情感的理想媒介，完美契合了徽州宅院对内部空间人文氛围的营造需求。它的题材包罗万象，涵盖寓意吉祥的图案、宣扬忠孝节义的历史戏曲故事、富有文人意趣的山水楼阁，以及生动朴实的日常生活场景。在技法上，“徽州木雕的工艺特点是以平面雕、浅浮雕、深浮雕和透雕（镂空雕）四种技法为主。”刀法细腻流畅，构图饱满，层次分明，力求在有限厚度中营造出深邃的立体空间感和生动的画面叙事。代表作有黟县卢村“木雕楼”的隔扇门雕和宏村承志堂的梁架雕刻。

（二）石雕

石雕则以材质坚硬、风格古朴、寓意庄重而见长，常用于建筑的外部显要和承重结构。其应用主要集中在牌坊、门罩、抱鼓石、石狮、栏杆及祠堂台基等处。石材的永恒性，使其天然适合承载需要垂范后世、昭示功德的纪念性功能。因此，石雕往往是徽州建筑中最为公共化和象征性的艺术表达。其多采用本地“黟县青”等石材，质地坚实，经久耐磨。它既利于精细雕刻，又能抵御风雨侵蚀，是成就徽州石雕艺术魅力的物质基础。“徽州石雕题材受雕刻材料本身限制不及木雕与砖雕复杂主要是动植物形象、博古纹样至于人物故事与山水则较为少见。”受材料特性限制，其技法主要为浮雕与圆雕。线条刚劲简练，风格追求大气凝重，注重整体块面的体积感和光影效果，与木雕的繁复细腻形成鲜明对比，歙县的许国石坊便是其登峰造极之作。

（三）砖雕

“砖雕,俗称花砖,敲之有声,断之无孔。”它是一种在特制青砖上雕刻的艺术，兼具木雕的细腻与石雕的耐久，堪称徽派建筑门楼的“点睛之笔”。砖雕在材质上介于木石之间，既有一定的可雕性，又能耐受户外气候，因而成为装饰建筑外立面的理想选择。其主要应用于建筑的门楼、门罩、照壁、以及窗楣、屋脊等处。制作工序复杂，从选土炼泥到烧制成砖，再到精心雕刻，要求极高。砖雕题材广泛，尤擅长以“多层透雕”的绝技表现人物众多、场面宏大的戏剧故事与民俗场景。这种技艺能在厚度有限的砖坯上雕出前后多个层次，景物前后穿插，玲珑剔透，空间感极强。精美的砖雕门楼是彰显主人身份与品味的重要标志，在徽州区潜口民宅等地留存着大量工艺精湛的实例。

====文化意义与当代价值====

“砖雕的淡雅、木雕的华美、石雕的粗犷，正是由于三雕的不同特点，它们才会给人带来不同的享受，三者互相映衬，缺一不可。”徽州三雕不仅是一种工艺技艺，更是徽州文化的重要载体。它们体现了徽州人崇尚儒家伦理、追求吉祥美满、亲近自然的人文精神。在构图上讲究对称与韵律，具有高度的艺术统一性。如今，徽州三雕已被列入国家级非物质文化遗产，通过保护、传承与创新，其艺术价值与文化内涵得以延续，并为当代艺术与文化建设提供有益借鉴。

====结语====

徽州三雕作为徽派建筑的灵魂，凝聚着徽州人民的智慧与情感，是中国传统工艺与地域文化的瑰宝。“不论年月的沉积，她都会散发出具有地域特色的迷香，每每进入古徽州的巷子，它们带有岁月见证的古意，带着深厚的民间艺术色彩，给观者以美的熏陶和启迪。”

====术语====

徽州三雕：The Three Carvings of Huizhou

徽派建筑：Huizhou-style architecture

木雕：Woodcarving

石雕：Stone carving

砖雕：Brick Carvings

平面雕：flat carving

浅浮雕：low relief carving

深浮雕：deep relief carving

透雕：through carving

圆雕：round carving

多层透雕：multi-layer through-carving

黟县青：Yixian Qing

雀替：brackets

门罩：door covers

徽商：Huizhou merchants

贾而好儒：merchants who love Confucianism

程朱理学：Cheng-Zhu Neo-Confucianism

新安画派：Xin 'an School of Painting

忠孝节义：loyalty, filial piety, chastity and righteousness

非物质文化遗产：intangible cultural heritage

====问题====

1、徽州三雕具体指的是哪三种雕刻？

2. 徽州三雕主要用于哪种建筑风格？

3. 徽州木雕最常用的两种雕刻技法是什么？

4. 徽州砖雕最具特色的技法叫什么？

5. 徽州三雕属于哪一类文化遗产？

====答案====

1.木雕、石雕、砖雕

2.徽派建筑

3.透雕和圆雕

4.多层透雕

5.非物质文化遗产

====参考文献====

【1】吴玉红.徽州“三雕”的成因及艺术特色[J].美术,2008,(10):106-109.

【2】程小武.论徽州建筑雕作艺术[J].艺术百家,2006,(04):89-93.

【3】王舒.徽州雕刻艺术特色浅析[J].美术大观,2018,(09):84-85.

【4】杨文.论徽州古建筑“三雕”之美[J].包装世界,2010,(04):84-85.

【5】罗先松.浅谈徽州古建筑中的三雕艺术[J].工程与建设,2009,23(01):32-33+88.

【6】吴怡.徽州古村落中的三雕艺术[J].扬州职业大学学报,2002.(02):18-20+36.

User:Xie Xuan

2026-02-21T19:20:38Z

Root: Created page with "==Final Paper== ===Rucheng Incense Dragon=== ====Introduction==== Rucheng County is located in southern Hunan Province, at the confluence of Hunan, Guangdong, and Jiangxi prov..."

==Final Paper==
===Rucheng Incense Dragon===
====Introduction====
Rucheng County is located in southern Hunan Province, at the confluence of Hunan, Guangdong, and Jiangxi provinces, and has long enjoyed the reputation of "the crow of a rooster heard in three provinces, waters flowing into three rivers." In November 2014, the China Division of the United Nations Group of Experts on Geographical Names conferred upon Rucheng the title of "Millennium-Old County." Rucheng County possesses profound historical and cultural heritage and abundant resources, making it a Famous Historical and Cultural City in Hunan Province. Rucheng Incense Dragon is a dragon dance performance activity held on nights around the Lantern Festival. It is practiced in 14 villages and townships within Rucheng County. It was included in the first batch of Hunan Provincial Intangible Cultural Heritage List in 2006 and designated as a national-level intangible cultural heritage protection project in the second batch in 2008. (Hu Ting et al., 2023)

Within different localities of Rucheng, there exist varying artistic forms, and the inheritance and crafting techniques also differ from village to village. There are multiple narratives regarding the origin of "Rucheng Incense Dragon," mostly stemming from local folklore. One widely circulated legend states: In the first year of the Hongdao era of the Tang Dynasty (683 AD), Rucheng County suffered from flood disasters. Villagers "used fire dragons to subdue the flood," weaving dried rice straw, commonly found locally, into several straw dragons. They set these straw dragons alight and cast them into the floodwaters, eventually causing the floods to recede and allowing villagers to resume normal life. Thereafter, villagers in Rucheng, organized by village, began holding Xianghuolong dance rituals during the Lantern Festival period to pray for favorable weather, bountiful harvests, and peace in the coming year. (Qiu Haihong & Hu Jianzhong, 2019)

====Production Process of Rucheng Incense Dragon====
The materials used to make Rucheng Incense Dragon are all locally sourced, including rice straw, palm leaves, nan bamboo, sunflower stalks, etc. These seemingly ordinary materials are transformed by inheritors into breathtaking works of art. "Zhaogongbian" is the foundational material for making the Xianghuolong. It consists of strips hundreds of meters long and approximately 4 centimeters in diameter, serving as the base for all subsequent stages of the dragon's construction. Under the craftsmen's hands, the "Zhaogongbian" is sequentially shaped into the dragon's head, neck, body, and tail. The dragon head section features complex design, with every detail—from the horns, mouth, and whiskers to the eyes, ears, teeth, and nose—meticulously carved and layered, perfectly presenting the dragon's majesty. Each segment of the dragon body forms an arch. A key point in crafting the body is the insertion of dragon incense sticks. Artisans insert incense sticks, each about 60 cm long, into the "Zhaogongbian" at intervals of about 2 cm along both sides of the dragon body, connecting them with thin bamboo strips to form vivid scales. The entire dragon body requires approximately 40,000 incense sticks, creating a tremendous visual impact. After completing all components, each body segment is connected in front of the ancestral temple, fixed with bamboo poles and ropes, and fitted with carrying poles, forming a complete Xianghuolong ready for performance. The Xianghuolong can consist of 7 to 11 arches and reach a height of 2.5 to 4 meters. (Qiu Haihong et al., 2017)

====Ritual Procedures====
The Rucheng Incense Dragon ritual is a major annual folk event deeply cherished and valued by the local populace of Rucheng County. The activity is held during the Lantern Festival period. In villages hosting the event, everyone, young and old, actively participates, collectively witnessing the grand dragon dance ceremony.

As night falls, local villagers signal the start with three blasts from local cannons. Drums, gongs, wind and string instruments, and firecrackers sound in unison. Participants holding torches light all the incense inserted into the dragon's body. The entire dragon, now ablaze with fire, radiates and glitters in the night. Guided by a young man holding a fiery embroidered ball, dozens of young men lift and begin to dance the dragon. The Incense Dragon, glowing a radiant red, weaves through the streets and alleys of the villages and towns. When passing households, each family lights candles and sets off firecrackers to welcome the dragon's arrival, symbolizing good luck and a prosperous, auspicious year with favorable weather. (Xu Xiaoqin & Lei Junrong, 2010) During the Incense Dragon performance, two dragons (a mother dragon and a child dragon) and two lions (a mother lion and a child lion) accompany the dance. One lion leads in front of the dragon, and another follows at the tail. Dozens of "Three-Eyed Cannons" fire simultaneously during the performance. Over one hundred young and middle-aged farmers, dressed in old clothes, lift the dragon, which weighs approximately 1,500 kilograms. They first dance it around the ancestral temple and then parade it along the village paths. The performance includes a sequence of movements such as rolling, spraying water, submerging to the "sea floor," jumping, swallowing, and sleeping. The "submerging" and "swallowing" movements are particularly technically challenging. The leading and following lions perform their own rolls and jumps in addition to actions that guide and protect the dragon ("escorting the dragon").

The Rucheng Incense Dragon dance follows a complete, prescribed procedure: Before the dance, a ceremony worshipping ancestors is held in the ancestral temple, involving setting up an altar, burning incense, bowing with hands folded, and performing kowtows. During this time, villagers maintain an air of solemn reverence, with no noise. After the ceremony, the dragon is lifted and kowtows three times in front of the ancestral hall before the "dragon dance" commences. Households along the street set off firecrackers, a practice known as "receiving the dragon" (Jie Long). After following the prescribed route, the dragon returns to the front of the ancestral temple. The dragon's head is positioned centrally as the body coils into three circles. Villagers then pluck out the remaining incense sticks, and the dragon frame is burned in a ritual called "transforming the dragon" (Hua Long), signifying "the dragon returns to heaven." Early the next morning, the ashes are poured into a stream, symbolizing "the dragon returns to the great sea." (Xu Xiaoqin & Lei Junrong, 2010)

====Contemporary Inheritance and Innovation====
(I) Increasing Government Funding and Support: Providing financial assistance to inheritors of the Rucheng Incense Dragon for carrying out transmission activities can effectively stimulate their motivation for safeguarding and their capacity for innovation, thereby strongly promoting the sustainable development of Incense Dragon cultural activities. Especially during important festivals such as the Spring Festival and Lantern Festival, funding exhibition performances can increase its visibility, enhance local community enthusiasm for participation, and also effectively integrate resources to foster cross-regional and interdisciplinary cultural exchanges. (Yang Zhuangzhuang, 2024)

(II) Digital Technology Assisting the Inheritance of the Rucheng Incense Dragon: For the digital preservation of Rucheng Incense Dragon craftsmanship, technologies such as 3D scanning and 3D modeling can be employed to capture the detailed structure and complex techniques with high precision. Subsequently, digital technology can transform this data into animated presentations. This approach can both preserve the traditional charm of the Incense Dragon and present it to the public in a more vivid and intuitive manner. Secondly, promoting Rucheng Incense Dragon culture through online platforms leverages the rapid dissemination power of the internet, enabling the artistic charm and cultural value of the Incense Dragon to transcend temporal and spatial boundaries, reach a wider audience, and expand its cultural influence. The key lies in conveying its cultural value to enhance public awareness and interest in Incense Dragon culture. Internet digital platforms, especially social media and short video platforms, represent new frontiers for disseminating this cultural heritage. (Yang Zhuangzhuang, 2024)

====Conclusion====
In the arrangement order of the zodiac, the ancients’ understanding of the laws of nature is hidden. Judging from the living habits of animals, mice are active at night, which corresponds to the time of day; Cows will ruminate when they are ugly, which corresponds to ugliness; The tiger is the fiercest. This way of “matching time with animal habits” embodies the ancient idea of “harmony between man and nature”-human beings and nature are not antagonistic, but interdependent and harmonious. The zodiac signs bind time, animals and people’s lives together, reflecting the ancient people’s survival wisdom of adapting to and using nature.
In addition, the zodiac animals include mammals, reptiles, birds and even imaginary animal dragons, but they can coexist harmoniously, which shows that the ancients have a tolerant and respectful attitude towards all kinds of creatures; In the zodiac, the dragon, as the only deity, represents heaven and earth, and it is the ancient people’s worship of nature and the condensation of imagination. Fuxi Nuwa’s snake-face, which is often seen in Han portraits, and the snake, as one of the zodiac animals, are often connected with the spirit of creation, which is also full of worship for nature.

===Terms and Expressions===
Rucheng Incense Dragon 汝城香火龙

Dragon Dance 舞龙

Lantern Festival 元宵节

Ancestral Temple / Clan Hall 祠堂

Ancestor Worship Ceremony 祭祖仪式

Receiving the Dragon (Jie Long) 接龙

Transforming the Dragon (Hua Long) 化龙

Hakka Communities 客家人

Agrarian Culture 农耕文化

Zhaogongbian 赵公鞭

Dragon Incense Sticks (Long Xiang) 龙香

To Pray for Blessings and Ward Off Disasters 祈福消灾

===Questions===
1.What disaster is the widely circulated origin of the Rucheng Incense Dragon associated with?

2.What is the foundational material for making the Rucheng Incense Dragon?

3.During which festival is the Rucheng Incense Dragon primarily performed?

4.In contemporary inheritance and innovation, in which aspects is digital technology primarily applied to assist the inheritance of the Rucheng Incense Dragon?

5.As a National-level Intangible Cultural Heritage, what are the core characteristics of the Rucheng Incense Dragon?

===Answers===

1.The widely circulated origin of the Rucheng Incense Dragon is associated with flood disasters. Legend has it that during the Tang Dynasty, Rucheng suffered severe floods. Local residents adopted the suggestion to "subdue the flood with fire dragons," crafting straw dragons and casting them into the water. This practice later evolved into a folk ritual for praying for safety and peace.

2.The foundational materials for making the Incense Dragon are rice straw, along with other local produce such as palm leaves, mao bamboo (nan bamboo), and sunflower stalks. During construction, rice straw is first braided into a thick rope hundreds of meters long, known as the "Zhaogongbian", which serves as the base framework for the dragon's body.

3.The Incense Dragon dance is primarily held at night around the Lantern Festival (the 15th day of the first lunar month).

4.The application of digital technology in contemporary inheritance is mainly reflected in two aspects: digital preservation and online dissemination. Specific measures include: utilizing three-dimensional scanning and modeling technologies to permanently record the crafting techniques and forms; creating immersive experience projects through VR (Virtual Reality) technology; and promoting the tradition via internet platforms such as short video apps and social media.

5.As a National-level Intangible Cultural Heritage, its core characteristics are: a framework constructed from rice straw and bamboo, the dragon's body being entirely covered with specially made incense sticks, and its performance occurring at night with the incense ignited. This creates a distinctive visual spectacle—a radiant, soaring fiery dragon—which significantly distinguishes it from more common cloth or colored dragon dance forms.

===References===

[1] Hu Ting, Xiao Yi, & Li Xianxiong. (2023). Exploring the cultural connotation and social functions of "Xianghuolong" from the perspective of folk sports—Based on an investigation in Rucheng, Hunan. Contemporary Sports Technology, 13(06), 113-116.

[2] Qiu Haihong, & Hu Jianzhong. (2019). Analyzing the evolution of rural ritual sports from the perspective of "state-society" relationship theory: A study on the "Rucheng Xianghuolong" activity in Chenzhou, Hunan. Journal of Capital University of Physical Education and Sports, 31(05), 428-431+442.

[3] Qiu Haihong, Hu Jianzhong, & Wang Junyun. (2017). The overall form of village ritual sports: Taking Rucheng "Xianghuolong" as an example. Journal of Hengyang Normal University, 38(03), 129-133.

[4] Xu Xiaoqin, & Lei Junrong. (2010). Inheritance models of intangible cultural heritage of village folk sports: Based on an investigation of Rucheng Xianghuolong in Chenzhou. Combat (Martial Arts Science), 7(12), 96-98.

[5] Yang Zhuangzhuang. (2024). Practical dilemmas and normative pathways for the inheritance and development of Rucheng Xianghuolong from the perspective of rural revitalization. Journal of Xiangnan University, 45(04), 5-9.

==期末论文==
===汝城香火龙===
====介绍====

汝城香火龙的起源汝城县位于湖南省南部，是湘、粤、赣三省交会之地，自古便享有“鸡鸣三省，水注三江”之盛誉。2014年11月联合国地名专家组中国分部授予汝城“千年古县”称号，汝城县历史文化底蕴深厚，资源丰富，是湖南省历史文化名城。汝城“香火龙”是定于元宵节前后夜晚举行的舞龙展演活动，传布于汝城县14个乡村部落里，并于2006年列入湖南省第一批非遗名录，2008年被列入第二批国家级非遗保护项目。（胡婷等，2023）

在汝城的各地方，有其各不相同的艺术类型，每个村落的传承及制作工艺也各不相同关于“汝城香火龙”的起源有多种说法，多来源于当地的民间传说，其中流传较广的是：唐弘道元年（683年），汝城县遭遇洪涝灾害，村民“以火龙降水患”，用当地常见的干稻草编扎成数条稻草龙，把点燃的草龙投入洪水之中，最终使得洪水退去，村民们得以恢复正常的生活。在此之后，汝城的村民以村落为单位，在元宵节期间举行舞“香火龙”仪式，以祈求来年的生活风调雨顺、五谷丰登。（邱海洪，胡建忠，2019）

====汝城香火龙的制作流程====

制作汝城香火龙的材料均产自当地，包括稻草、棕榈叶、楠竹、向日葵秆等，这些看似平常的材料，在传承人的手下却转化为令人叹为观止的艺术品。“赵公鞭”是香火龙制作的基础材料，长达数百米，直径约4厘米，是后续制作香火龙各环节的基础。

在传承人的制作下，“赵公鞭”依次变为龙头、龙颈、龙身及龙尾，龙头部分设计复杂，从龙角、龙嘴到龙须、龙眼，再到龙耳、龙牙、龙鼻等，每一处细节都精雕细琢，层层递进，完美呈现出龙的威严。每一节龙身都是一段拱形。龙身的制作要点是龙香的插入，匠人们沿着龙身的两侧，每隔2厘米便在“赵公鞭”上插入一支长约60厘米的龙香，用细篾片连接，形成一片片生动的龙鳞。整个龙身大约需要4万支龙香，给人带来极大的视觉冲击。在完成所有部件后，每一节龙身都将在祠堂前进行连接，用竹竿和绳索固定，再装上抬杆，使之成为可供表演使用的完整香火龙。香火龙从7拱至11拱不等，高度可达2.5~4米。（邱海洪等，2017）

====仪式环节====

香火龙仪式是汝城县一年一度的重大民俗活动，深受当地民众的喜爱与重视，活动在元宵节期间举行。举办活动的村子，全村上下，男女老少，都会积极参与到这一活动中来，共同见证盛大的舞火龙仪式。

当夜幕降临时，当地村民以土炮三响为号，鼓输管弦乐器、花炮齐鸣，众人手持火把点燃龙身全部香火，整个龙体在夜幕中火光四射，熠熠生辉，在手提火绣球的小伙子的指引下，由数十个年轻人一起将它舞起。全身红光闪闪的香火龙在村镇的大街小巷来回穿梭，经过村民家时，每家每户都会点燃蜡烛、燃放鞭炮，以示迎接龙的到来，象征着好运和一年的日子红红火火，风调雨顺。（徐晓琴，雷军蓉，2010）

表演香火龙时，有两龙（母龙和子龙）、两狮（母狮和子狮）陪随而舞，一狮在龙前引路，一狮在龙尾跟随。香火龙表演时，数十支三眼铳齐鸣，一百多名青壮年农民，身穿旧衣，将1500公斤的龙抬起来，绕祠堂舞动，然后沿村游走。香火龙的表演程序上有：翻滚、喷水、沉海底、跳跃、吞食、睡眠等动作。“沉海底”和“吞食”表演技巧上难度较高。引路和尾随的两头狮子，除各自作翻滚跳跃的动作外，还作些引龙和随龙“护驾”动作。

汝城舞香火龙有一套完整的程序：舞之前要到祠堂举行祭祖仪式，设案、焚香、作揖、施叩礼，这时村民一脸虔诚郑重，绝无一点嘈杂嬉闹声，仪式过后将龙抬起在祖祠前叩首三次，方可“舞龙”，沿街的人家要燃放爆竹谓之“接龙”，按规定的路线舞过后，又回到祖祠前，龙首居中，盘成三圈，村民扯香后，即烧龙谓“化龙”，“龙归天”。第二天清晨将龙灰倒入溪流中，寓“龙归大海”之意。（（徐晓琴，雷军蓉，2010））

====当代传承与创新====

（一）加大政府资助和支持：资助汝城香火龙传承人开展传承活动对汝城香火龙的传承人提供资金支持，能够有效激发他们的传承动力和创新能力，有力促进香火龙文化活动的持续开展。尤其是在春节、元宵节等重要节日期间，资助香火龙的展演活动，能增加其“曝光度”，加强当地民众参与香火龙活动的热情，同时也能够有效整合资源，促进跨区域、跨领域的文化交流。（杨壮壮，2024）

（二）数字技术助力汝城香火龙传承：数字化存储汝城香火龙技艺对汝城香火龙的数字化储存，可以采取三维扫描和三维建模技术，高精度地捕捉香火龙的详细结构和复杂工艺，进而通过数字技术将其转化为动画展示，这样既能保留香火龙的传统魅力，又能使其以更加生动直观的方式呈现给公众。其次，网络化推广汝城香火龙文化互联网平台的快速传播能力能够使香火龙的艺术魅力和文化价值跨越时空界限，触达更广泛的受众群体，扩大香火龙文化的影响范围。最后关键在于传递文化价值，提升公众对香火龙文化的认知和兴趣。互联网数字平台，尤其是社交媒体和短视频平台，是香火龙文化传播的新阵地。（杨壮壮，2024）

====结语====

汝城香火龙是流传于湖南省郴州市汝城县的传统民俗活动，被誉为“华夏第一香火龙”。作为国家级非物质文化遗产，它起源于唐代，是当地客家民众为祈福消灾而创造的独特龙舞形式。其核心特征在于以稻草、竹材为骨，通体插满特制龙香，夜间点燃舞动时宛如火龙腾飞，气势恢宏。这项活动深度融合了当地的自然崇拜、农耕文化与宗族社会结构，是研究湘南地域文化的重要活态样本。

===术语与表达===

Rucheng Incense Dragon 汝城香火龙

Dragon Dance 舞龙

Lantern Festival 元宵节

Ancestral Temple / Clan Hall 祠堂

Ancestor Worship Ceremony 祭祖仪式

Receiving the Dragon (Jie Long) 接龙

Transforming the Dragon (Hua Long) 化龙

Hakka Communities 客家人

Agrarian Culture 农耕文化

Zhaogongbian 赵公鞭

Dragon Incense Sticks (Long Xiang) 龙香

To Pray for Blessings and Ward Off Disasters 祈福消灾

===问题===
1.汝城香火龙流传较广的起源和什么灾害有关？

2.制作汝城香火龙的基础材料是什么？

3.汝城舞香火龙主要在哪个节日举行？

4.在当代传承与创新中，数字技术助力汝城香火龙传承主要体现在哪些方面？

5.汝城香火龙作为国家级非物质文化遗产，其核心特征是什么？
===答案===
1.汝城香火龙流传较广的起源与洪涝灾害有关。相传唐朝时汝城洪水泛滥，当地民众采纳“以火龙降水患”的建议，扎制草龙投入水中，后逐渐演变为祈求平安的民俗活动。

2.制作香火龙的基础材料是稻草以及棕叶、毛竹（楠竹）、向日葵秆等当地物产。制作时，首先会用稻草扎成数百米长的粗绳，称为 “赵公鞭” ，作为龙身骨架的基础。

3.舞香火龙的活动主要在每年农历正月十五的元宵节前后夜间举行。

4.数字技术在当代传承中的应用主要体现在数字化保存和网络化传播两个方面。具体包括：利用三维扫描和建模技术永久性记录制作工艺与造型；通过VR技术制作沉浸式体验项目；以及借助短视频、社交媒体等互联网平台进行推广。

5.作为国家级非物质文化遗产，其核心特征是：以稻草、竹材扎制龙骨，在龙身通体插满特制的龙香，于夜间点燃舞动，从而形成一条火光四射、宛如真龙腾飞的壮观景象。这使其与常见的布龙、彩龙等舞龙形式显著区别开来。

===参考文献===
[1]胡婷,肖钛 & 李先雄.(2023).民俗体育视野下“香火龙”的文化内涵及社会功能探析——基于湖南汝城调查.当代体育科技,13(06),113-116.

[2]邱海洪 & 胡建忠.(2019).从“国家——社会”关系理论视角分析乡村仪式性体育的变迁:湖南郴州“汝城香火龙”活动研究.首都体育学院学报,31(05),428-431+442.

[3]邱海洪,胡建忠 & 王俊云.(2017).村落仪式性体育的整体形制——以汝城“香火龙”为例.衡阳师范学院学报,38(03),129-133.

[4]徐晓琴 & 雷军蓉.(2010).村落民俗体育非物质文化遗产的传承模式——以郴州汝城香火龙考察为例.搏击(武术科学),7(12),96-98.

[5]杨壮壮.(2024).乡村振兴视域下汝城香火龙传承发展的实然困境与应然路径.湘南学院学报,45(04),5-9.

User:Huang Yilin

2026-02-21T19:20:00Z

Root: Created page with " Liubao Tea: the great tea of Lingnan, carrying the essence of thousands of years 1、Introduction Liubao Tea, a speciality of Wuzhou City in the Guangxi Zhuang Autonomous r..."

Liubao Tea: the great tea of Lingnan, carrying the essence of thousands of years

1、Introduction

Liubao Tea, a speciality of Wuzhou City in the Guangxi Zhuang Autonomous region, is a product with National Geographic Indication in China. It is also included in the Traditional Tea Processing Techniques and Their Associated Customs--a UNESCO Intangible Cultural Heritage of Humanity - under the category of dark tea processing techniques (Liubao Tea Processing Techniques). As one of China’s renowned historical teas, Liubao Tea belongs to the dark tea category and derive its name from Liubao Town, Cangwu Country, Wuzhou, its place of origin. Its quality is celebrated for the Four Excellence: red hue, rich aroma, mellow taste, and heavy texture. With a history dating back to the Tang Dynasty, Liubao Tea gained prominence during the Ming and Qing dynasties. Leveraging water transportation advantages, it was exported to the Southeast Asia, becoming a representative of “Overseas Chinese Export Tea”. As a vital symbol of Wuzhou’s regional culture , Liubao Tea is more than a beverage - it embodies the local people’s wisdom of daily life, commercial history, and folk emotions, serving as a key link for cultural and economic exchanges between Wuzhou and the outside world. Today, amid the rising popularity of tea culture, Liubao Tea has re-entered public view with its unique flavor, health-preserving value, and profound cultural heritage, emerging as an indispensable subject in the study of Lingnan tea culture.

2、Folk Tale of Liubao Tea

This folk tale is related to trade and transportation. During the Ming and Qing dynasties, Liubao was transported to Guangzhou the Xijiang River shipping route and then resold to Southeast Asian countries. It is said that once, a merchant ship carrying Liubao Tea encountered a violent storm during its voyage. The rough waves caused the tea chests to get wet. The boatman thought the tea would get ruined, but to their surprise, when they opened the chests upon arrival, they found that the tea had fermented after absorbing moisture, resulting in a smoother, mellower taste and a richer aroma. This accident not only revealed Liubao Tea’s unique post-fermentation characteristics but also provided inspiration for subsequent process improvements, becoming an interesting anecdote in the development history of Liubao Tea.

3、The Significance of Liubao Tea

(1)From a Historical and Trade Perspective During the Ming, Qing dynasties and the Republic of China, Liubao Tea was one of the key commodities for Wuzhou’s foreign trade. Relying on the golden waterway of the Xijiang River, Liubao Tea departed from Wuzhou Wharf, passed through Guangzhou and Hong Kong， and was exported to Southeast countries such as Malaysia and Singapore. It became an indispensable beverage among the overseas Chinese communities at that time, even known as the homesickness of overseas Chinese. Its trade not only drove the development of local industries in Wuzhou such as shipping, packing and transportation, but also promoted cultural exchanges between Wuzhou and Southeast Asian regions, serving as an important witness to the foreign trade history of Lingnan area.

(3)From a Health Preservation Perspective

From the perspective of moderns health preservation, Liubao Tea boasts rich health value. Through long-term post-fermentation, it contains various nutrients such tea polyphenols, tea polysaccharides and amino acids, with a mild nature suitable for people of different groups. Traditional Chinese medicine holds that Liubao Tea has the effects of dispelling dampness, nourishing the stomach and reducing blood lipids, which is especially suitable for the human body’s needs under humid climate of Lingnan area. Modern research also shows that long-term and moderate consumption of Liubao Tea has a certain auxiliary effect on regulating blood sugar and lowering cholesterol, making it one of the preferred teas for people pursuing a healthy lifestyles nowadays.

3、Types of Liubao Tea

Based on the manufacturing techniques, storage time and morphological features, Liubao tea can be mainly categorized into the following types:

Traditional farmhouse tea: it is crafted using traditional manual techniques. The fresh tea leaves undergo processes like fixation, rolling, pile fermentation and drying. Typically strip-shaped in appearance, it boasts a dark brown and glossy color, with an orange-red and bright tea liquor. The taste is mellow and sweet with a lingering aftertaste, accompanied by a unique betel nut aroma. As the most traditionally flavored variety of Liubao tea, it is mostly handmade and consumed by local farmers themselves.

Modern craft tea: it is improved by integrating modern tea-making technologies, with optimized fermentation conditions and production processes on the basis of traditional techniques, resulting in higher yield and more stable quality. According to different shapes, it can be further divided into compressed teas such as Bingcha(the shape of stored tea like a cookie), Zhuancha(the shape of stored tea like a brick), and loose tea. Compressed teas are easy to store and transported, suitable for long-term collection; loose tea, the the other hand, is convenient for brewing, ideal for daily drinking, with a fresher taste of the tea liquor and a more distinct and refreshing aroma.

Aged tea: that refers Liubao that has been stored for more than five years. As the storage time extends, the components in the tea leaves undergo further transformation, leading to a milder and smoother taste. Its aroma gradually evolves from the initial betel nut scent into aged fragrance. Aged Liubao tea not only has a distinctive taste but is also regarded as having higher collection value and health-preserving effects, making it a higher-end variety of Liubao tea that is deeply flavoured by tea lovers and collectors.

梧州六堡茶：承载千年底蕴的岭南佳茗

一、引言

梧州六堡茶，广西壮族自治区梧州市特产，中国国家地理标志产品，也被列入联合国人类非物质文化遗产代表作名录中国传统制茶技艺及其相关习俗黑茶制作技艺（六堡茶制作技艺）。六堡茶是中国历史名茶之一，属于黑茶类，因原产于广西梧州苍梧县六堡镇而得名，其品质以“红、浓、沉、醇”四绝著称。历史可追溯至唐代，在明清时期更是凭借水运优势远销东南亚，成为“侨销茶”的代表。作为梧州地域文化的重要符号，六堡茶不仅是一种饮品，更承载着当地人民的生活智慧、商贸历史与民俗情感，是连接梧州与外界文化、经济交流的重要纽带。如今，随着茶文化热潮的兴起，六堡茶凭借独特的口感、养生价值及深厚的文化底蕴，重新走进大众视野，成为研究岭南茶文化不可缺少的重要对象。

二、六堡茶的民间故事

明清时期，六堡茶通过西江航运运往广州，再转销至东南亚各国。据说有一次，一艘运载六堡茶的商船在航行途中遭遇暴风雨，船只颠簸导致茶箱进水。船夫们本以为茶叶会报废，没想到抵达目的地后，打开茶箱发现，茶叶因吸收水分发酵，口感反而更加醇厚顺滑，香气也更浓郁。这次意外不仅让人们发现了六堡茶独特的后发酵特性，也为其后续的工艺改良提供了灵感，成为六堡茶发展史上的一段趣谈。

三、六堡茶的重要性

（一）历史商贸层面

在明清至民国时期，六堡茶是梧州对外贸易的重要商品之一。依托西江黄金水道，六堡茶从梧州码头出发，经广州、香港，远销至马来西亚、新加坡等东南亚国家，成为当时华人社群中不可或缺的饮品，甚至被称为“侨胞的思乡茶”。其贸易往来不仅带动了梧州当地航运、包装、运输等产业的发展，更促进了梧州与东南亚地区的文化交流，成为岭南地区对外商贸历史的重要见证。

（二）地域文化层面

六堡茶是梧州地域文化的“活名片”，融入了当地人民的日常生活与民俗活动。在梧州，无论是家庭待客、节日庆典，还是婚丧嫁娶，都离不开六堡茶的身影。例如，当地婚礼中，新人会以六堡茶招待宾客，象征“茶浓情更浓”；春节期间，家人围坐品饮六堡茶，寓意“团圆安康”。此外，六堡茶的种植、制作工艺代代相传，凝聚了当地人民的智慧，成为梧州非物质文化遗产的重要组成部分，承载着当地的历史记忆与文化认同。

（三）健康养生层面

从现代养生角度来看，六堡茶具有丰富的健康价值。经过长期后发酵，六堡茶中含有茶多酚、茶多糖、氨基酸等多种营养成分，且其茶性温和，适合不同人群饮用。传统中医认为，六堡茶具有祛湿、养胃、降脂等功效，尤其适合岭南地区潮湿气候下的人体需求；现代研究也表明，长期适量饮用六堡茶，对调节血糖、降低胆固醇有一定辅助作用，成为当下追求健康生活方式人群的优选茶饮之一。

四、六堡茶的种类

根据制作工艺、存储时间及外形特点，六堡茶主要可分为以下几类：

①　传统农家茶：采用传统手工工艺制作，鲜叶经过杀青、揉捻、渥堆发酵、干燥等工序，外形多为条索状，色泽黑褐油润，茶汤橙红明亮，滋味醇厚回甘，带有独特的“槟榔香”，是六堡茶中最具传统风味的品类，多为当地农户自家制作与饮用。

②　现代工艺茶：结合现代制茶技术改良而成，在传统工艺基础上优化了发酵条件与生产流程，产量更高、品质更稳定。根据外形不同，又可分为饼茶、砖茶等紧压茶，以及散茶。紧压茶便于存储和运输，适合长期收藏；散茶则冲泡更便捷，适合日常饮用，茶汤口感更清爽，香气更显清新。

③　陈年老茶：指存储时间超过5年的六堡茶，随着存储时间的延长，茶叶中的成分会进一步转化，口感更加温润顺滑，香气也从最初的槟榔香逐渐演变为陈香、木香，甚至带有药香。陈年老茶不仅口感独特，且被认为具有更高的收藏价值与养生功效，是六堡茶中的高端品类，深受茶友与收藏者青睐。

五、六堡茶相关术语表达

六堡茶 Liubao Tea

后发酵 Post-fermentation

渥堆 Wodui (Pile Fermentation)

槟榔香 Areca Nut Aroma

陈香 Aged Aroma

条索 Tea Strand

紧压茶 Compressed Tea

饼茶 Tea Cake

砖茶 Tea Brick

沱茶 Tuocha ( Bowl-shaped Compressed Tea)

杀青 Fixation (Kill-green)

揉捻 Rolling

干茶 Dry Tea Leaves

茶汤 Tea Infusion

回甘 Sweet Aftertaste

祛湿 Dispel Dampness

侨销茶 Overseas Chinese Export Tea

六、课后思考

1. 梧州六堡茶“侨销茶”的历史定位，与其远销东南亚的贸易路线之间存在怎样的关联？

2. 六堡茶的“槟榔香”是在制作工艺的哪个环节形成的？不同存储时间是否会影响这一香气特征？

3. 相比其他黑茶（如普洱茶、安化黑茶），六堡茶的泡茶流程在水温控制或焖泡时间上有哪些独特之处？

4. 传统农家茶与现代工艺茶在口感、香气及适用场景上的差异，是否会影响不同消费群体对六堡茶的选择？

5. 作为梧州地域文化符号，六堡茶在当代的文化传播中，如何平衡传统工艺传承与年轻化市场需求？

答案：

1.梧州六堡侨销茶以祛湿刚需绑定东南亚华工，借茶船古道入海上丝路成华南与南洋商贸文化纽带。

2.形成环节，其核心是在渥堆中发酵，经过陈化凸显。时间越长，槟榔香越浓郁沉稳。

3.六堡茶需要100度的热水进行30~60秒的闷茶，老茶可以在时长控制在1~2分钟内，闷香味更浓。

4.传统六堡茶，香沉味醇，陈韵足，适配老茶客和收藏者。现代工艺茶，香鲜，甜润，入口适配新手，日常饮。口感香气差异，直接分流消费群体，影响选择。

5.以梧州文化符号为锚点，六堡茶需守传统工艺之根，保留槟榔香，陈化特质。融入年轻需求之新，做便携小包泡茶，果味特调，国潮包装双线并行，既守传承又触达新客。

参考文献

[1]王楚然.传承：梧州六堡茶基因里的生命力密码[N].经济参考报,2024-12-31(006). DOI:10.28419/n.cnki.njjck.2024.005108.

[2]石秋红.论六堡茶背后的人文气息[C]//中国管理科学研究院教育科学研究所.教育理论研究与实践网络研讨会论文集（专题一）.苍梧县中等专业学校;,2022:156-161.DOI:10.26914/c.cnkihy.2022.060076.

[3]梁英环.增强茶文化认同感推进六堡茶产业发展[J].山西农经,2025,(12):42-44.DOI:10.16675/j.cnki.cn14-1065/f.2025.12.014.

[4]林少烽,邱瑞瑾,吴平,等.梧州六堡茶出口历史、现状及发展建议[J].中国茶叶,2024,46(07):62-69.

User:Shu Yulu

2026-02-21T19:19:23Z

Root: Created page with "==Final Paper== ===Study on the Cultural Connotation and Modern Value of the Chinese Zodiac=== ====Abstract==== Zodiac is a highly recognizable symbol in China traditional cul..."

==Final Paper==
===Study on the Cultural Connotation and Modern Value of the Chinese Zodiac===
====Abstract====
Zodiac is a highly recognizable symbol in China traditional culture, which hides the ancient people’s understanding of nature, life and society. Spread for thousands of years, it has long been integrated into folk customs, art and language. This article first talks about the origin of the Chinese zodiac, and then combs how its cultural meaning has changed, to see how it has been handed down and innovated in the present society, and also to explore the value of this old symbol in the current cultural construction. I hope it can provide some practical reference for live transmission with traditional culture.
keyword
Zodiac; Cultural symbols; Folk custom inheritance; Modern value
====Introduction====
The zodiac is a mouse, an ox, a tiger, a rabbit, a dragon, a snake, a horse, a sheep, a monkey, a chicken, a dog and a pig. These twelve animals, paired with the twelve earthly branches, are the crystallization of the wisdom of our ancestors. It began to appear in the pre-Qin period and gradually settled down in the Han Dynasty. It was not only a tool to remember the year, but also left behind religious beliefs, folk customs and the truth of being a man, and became a complex cultural collection.
Nowadays, globalization and modernization are intertwined, and many traditional cultural symbols have either been forgotten or changed. However, the Chinese zodiac has always been full of vitality, and its shadow can be seen in Chinese New Year holidays, artistic creation and commercial design. Studying the cultural meaning and present value of the Chinese zodiac can not only find out how the traditional cultural symbols were handed down, but also provide local materials for the present cultural innovation. This article will combine book materials and practical observation, and start from three aspects: origin, connotation and inheritance, and dig out the cultural genes behind the zodiac.
====The Origin and Historical Stereotypes of the Zodiac====
Experts have not yet reached an agreement on how the zodiac came about. There are three main theories: animal worship, astronomical calendar and foreign culture.
Animal worship theory should be the most convincing. Ancient people lived by hunting and farming, and animals were closely related to survival, and they gradually became awed and worshipped. For example, the cow is the key to farming, the tiger represents strength and majesty, and the dragon is a sacred object created by people combining the characteristics of various animals, pinning their hopes for good weather. Putting these animals into the chronological system is essentially that the ancients regarded natural forces as “people”.
According to the astronomical calendar theory, the origins of the zodiac and the twelve earthly branches are inseparable. The twelve earthly branches are symbols used by the ancients to record time, which are related to the period of Jupiter’s rotation around the sun. The ancients paired twelve kinds of animals with twelve earthly branches in order to make the abstract calendar easy to remember and spread. It is mentioned in Zhou Li that there was a saying of “Twelve Chen” in the pre-Qin period, which laid the foundation for the combination of the twelve zodiac signs and the twelve earthly branches.
The theory of foreign culture was put forward by Mr. Guo Moruo. He thinks that the zodiac originated from the zodiac in Babylon and spread to China through the Silk Road, and it merged with the local culture to form the current chronological system. This statement has caused a lot of discussion, but there is no direct archaeological evidence to support it. More experts think that the zodiac is the result of the development of local culture in China, and foreign culture may have influenced it, but it is not the main origin.
According to archaeological findings, there is a complete sequence of “Mouse, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Chicken, Dog and Pig" in the Japanese Book, which is the earliest clear record at present. By the Han Dynasty, the system of the zodiac was completely fixed, and it was also included in the official calendar, and it was used to mark the years from the emperor’s ministers to the ordinary people. In Lun Heng, the corresponding relationship between the zodiac and the earthly branches is explained in detail, which also shows that the cultural meaning of the zodiac has begun to extend to philosophy and human principles.
====The Interpretation of the Cultural Connotation of the Zodiac====
After the zodiac is fixed, it is not only used to remember the year, but also a symbol bearing the core spirit of China traditional culture, which has three main meanings.
=====The Natural View of the Unity of Man and Nature=====
In the arrangement order of the zodiac, the ancients’ understanding of the laws of nature is hidden. Judging from the living habits of animals, mice are active at night, which corresponds to the time of day; Cows will ruminate when they are ugly, which corresponds to ugliness; The tiger is the fiercest. This way of “matching time with animal habits” embodies the ancient idea of “harmony between man and nature”-human beings and nature are not antagonistic, but interdependent and harmonious. The zodiac signs bind time, animals and people’s lives together, reflecting the ancient people’s survival wisdom of adapting to and using nature.
In addition, the zodiac animals include mammals, reptiles, birds and even imaginary animal dragons, but they can coexist harmoniously, which shows that the ancients have a tolerant and respectful attitude towards all kinds of creatures; In the zodiac, the dragon, as the only deity, represents heaven and earth, and it is the ancient people’s worship of nature and the condensation of imagination. Fuxi Nuwa’s snake-face, which is often seen in Han portraits, and the snake, as one of the zodiac animals, are often connected with the spirit of creation, which is also full of worship for nature.
=====The Social Function of Ethical Education=====
In traditional culture, the zodiac has been endowed with distinct moral significance and has become a tool for educating ordinary people. For example, cows represent hard work and simplicity, and they are role models in farming society. Sheep symbolize meekness and kindness, which coincides with the “benevolence” of Confucianism; Dogs represent loyalty and trustworthiness, and are the moral principles for people to get along with each other. The folk stories of “a mouse marries a woman” and “a bull flies into the sky” are vivid and interesting. They convey the good qualities of hard work, kindness and loyalty to everyone, especially children, and gradually influence their words and deeds.
At the same time, the Chinese zodiac represents the basic principle of family getting along. In ancient China, when getting married, relatives often comment on whether the two people are old enough to match the zodiac. As usual, there is a marriage saying that “the dragon matches the dragon and the phoenix matches the phoenix”, which seems to be a very superstitious traditional thought, but the essence is to hope that the two people love each other and are also eager for family harmony and social stability. It is this ethical concept rooted in ethnic groups that permeates the family structure of our traditional society. But nowadays, young people are not superstitious about “the zodiac decides their fate”. Like the previous “ten sheep and nine incomplete”, many young people who belong to the sheep have succeeded in their jobs, and some of them have a win-win entrepreneurial career, and their warm and happy life is regarded as a show-off talk.
=====Folklore Beliefs of Seeking Good Fortune and Avoiding Evil=====
The zodiac plays an important role in folk customs, and it is the spiritual sustenance for people to hope for good luck and avoid disasters. During the Spring Festival, people will stick Spring Festival couplets and window grilles with zodiac patterns and hang zodiac lanterns, hoping that the new year will be safe and smooth. In the animal year, everyone will wear red clothes and zodiac ornaments, trying to resolve the bad luck brought by “Tai Sui”. Although these folk customs are a little superstitious, they are all people’s yearning for a better life.
In addition, the zodiac is also influential in fortune telling. In ancient times, some magicians used the zodiac to judge people’s future fate, marriage and wealth. Although such things are not scientific, they may be of little use to ordinary people. With the development of the times and the progress of society, the superstitious color about divination of the zodiac has disappeared a lot, but it still exists today because it is one of the folk cultures of our country.
====The Inheritance and Innovation of the Zodiac in Modern Society====
Entering the modern society, the Chinese zodiac, with its unique cultural charm, continues to add elements of the new era while inheriting traditional folk customs, and is still full of vitality. Its inheritance and innovation are mainly concentrated in three areas.
=====Live Transmission of Folk Festivals=====
Folk festivals are an important carrier of the inheritance of the zodiac. There must be the zodiac in traditional festivals such as Spring Festival and Lantern Festival. For example, in the Year of the Loong in 2024, there will be various lantern festivals, temple fairs or dragon dances with the theme of “Dragon”all over the country. Before and after the Spring Festival, there are dragon lanterns in ditan temple fair in Beijing, dragon lantern parades at the Confucius Temple in Nanjing, and various lion-awakening and dragon-dancing performances in Guangzhou ... Everyone understands and feels the charm of the combination of traditional Chinese zodiac culture and modern festivals in various activities.

Then there is the integration of the zodiac culture into the protection of intangible cultural heritage. Various traditional folk arts such as paper-cutting, shadow play and clay sculpture are mostly about the Chinese zodiac. Paper-cut artists will cut all kinds of vivid zodiac patterns, and shadow puppetry artists will also use shadow puppetry to tell all kinds of zodiac stories, which will inherit the zodiac culture contained in these intangible heritages, and at the same time enable traditional craftsmen to bring their crafts to life; Like bronze carving artists who use the Chinese zodiac as their theme works, The Spirit Snake Ding gankun (year of the snake, 2025) uses traditional intangible skills and combines modern coloring techniques. This bronze carving is very popular among the public.

=====The Innovative Expression of Artistic Creation=====
The traditional Chinese zodiac has become the darling of many contemporary artists, and it has very rich forms of expression in different fields, such as painting, sculpture, film and television, animation, etc. And the painter Han Meilin has painted many ink paintings with the theme of the zodiac, which makes the zodiac animals glow with different artistic atmosphere by combining traditional ink and modern abstraction. Wu Weishan, a sculptor, used the spirit of China’s famous modern portrait sculpture to create an image, which is a China sculpture in the new era and a freehand sculpture.

Film and television animation is also a popular zodiac work. For example, the animated film “The Story of the Twelve Zodiacs” is an animated film based on the 12 Zodiacs, which unites the lion-awakening heroes and follows the little lion king to fight bravely to save the world. It has a good transmission of positive energy such as unity and brave struggle, and enables young people to learn about the knowledge of the zodiac, and at the same time has a strong youthful atmosphere. There is also a film and television drama “The Legend of the Zodiac”, which centers on the origin and legend of the Zodiac. Also, in the year of the snake in 2025, the mascot of CCTV Spring Festival Evening “Si Sheng”, the United Nations year of the snake Zodiac Stamps and many works of Zodiac Design Competition all made the snake image of the Zodiac cute and in line with the aesthetic needs of the present people.

=====The Wide Application of Commercial Design=====
The popular zodiac elements often appear in various commercial designs with high recognition. Cultural and creative products, fashion clothes, brand logo, and all kinds of advertisements all use the zodiac elements. The Palace Museum has launched Lunar New Year’s Eve items: zodiac bookmarks, zodiac seals, and zodiac hand-made, which combine traditional zodiac culture with modern design concepts and are very popular. Li Ning, a sports brand, has also launched “Dragon Series” sportswear in the Year of the Loong, with dragon patterns printed on them, which can not only show cultural self-confidence but also meet the needs of the public.
In addition, Zodiac culture is used in brand marketing, and edition products such as Maotai Zodiac Wine and Coca-Cola Zodiac Bottle are launched in the year of Zodiac to attract people's attention. Introducing Zodiac into brand promotion can increase the brand’s attractiveness and cultural value. Artists will also make stamp works related to the zodiac theme, such as “Tiger Blessing” and “{Golden Snake Blessing” ... Seven volumes have been made, which not only have the meaning of postal culture, but also convey the message of the zodiac blessing, which invisibly promotes the spread of the zodiac culture.
====Challenges and Countermeasures of Cultural Inheritance of the Zodiac====
Although the 12 Zodiacs still exist in our daily life today and are actively embraced and accepted by everyone, the process of inheritance is uneven and many problems have been encountered. First of all, influenced by globalization and modernization, many young people prefer western cultural symbols and don’t know much about Chinese traditional zodiac culture; Secondly, because of the single inheritance of the zodiac culture, it is difficult to attract the attention of young people if some festivals and folk customs are derailed from the present life; In addition, some merchants blindly pursue the playability or gimmicks of their products when developing, regardless of the spiritual core of the traditional zodiac culture, which makes the inheritance of the zodiac culture go astray.
To this end, the following three countermeasures are put forward: first, strengthen the popularization of Zodiac culture education, incorporate Zodiac culture into the traditional culture curriculum of primary and secondary schools, introduce the relevant knowledge of Zodiac culture to students in the form of classroom teaching and extracurricular activities, so that young people can understand the origin and significance of Zodiac culture, learn to spread this national culture, and increase cultural confidence; The second is to innovate the inheritance way of the zodiac culture, and use virtual reality, augmented reality and other technologies to develop corresponding experience products of the zodiac culture, enhance people’s sense of experience, promote people’s understanding of the zodiac culture, and attract people to accept the zodiac culture; The third is to standardize the commercial development of the Zodiac culture, strengthen the supervision of the Zodiac cultural products, guide merchants to grasp the cultural core of commodities, reduce the phenomenon of blindly following the trend, overcome the disadvantages of homogenization of the Zodiac cultural products, and promote the development of the Zodiac cultural industry.

====Conclusion====
The zodiac is a thousand-year-old cultural treasure of the Chinese nation, which contains the thoughts and feelings of the ancients and lasts for a long time; From the ancient way of chronology to the cultural symbol now, the meaning of the zodiac has become richer and richer, and there are more and more ways of inheritance; Inheriting and developing the culture of the zodiac in modern society is not only to respect and protect the excellent traditional Chinese culture, but also one of the effective ways to strengthen the construction of socialist culture in China.
In the future, we will continue to explore the connotation of the culture of the zodiac, innovate the way of inheritance of the culture of the zodiac, make it integrate with the modern society and promote each other, so that this ancient symbol presents a more brilliant new image.
===References===
[1] 李学勤. 睡虎地秦简《日书》研究[M]. 北京:中华书局,2005.

[2] 袁珂. 中国古代神话[M]. 北京:华夏出版社,2013.

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[4]晏昌贵.中国传统生肖文化探源[J].人民论坛,2025.

[5]李小玉.十二生肖的故事[J].疯狂英语(初中天地),2025.

===Terms===
Chinese Zodiac - 十二生肖

Twelve Earthly Branches - 十二地支

harmony between humans and nature - 天人合一

folk belief - 民俗信仰

Intangible Cultural Heritage (ICH) - 非物质文化遗产

cultural symbol - 文化符号

cultural core - 文化内核

cultural innovation - 文化创新

===Questions===
1.What are the three main theories about the origin of the Chinese Zodiac, and which one is more widely recognized？

2.What is the earliest document that clearly records the complete order of the Chinese Zodiac, and in which dynasty was this system fully established?

3.What are the three core dimensions of traditional cultural connotations embodied in the Chinese Zodiac?

4.In modern society, in which three main fields has the inheritance and innovation of the Chinese Zodiac been mainly concentrated?

5.What are the main challenges faced by the inheritance of Chinese Zodiac culture at present?

===Answers===
1. The three main theories are the animal worship theory, the astronomical calendar theory, and the foreign cultural origin theory; the animal worship theory is more widely recognized.

2.The earliest document is Ri Shu (Day Book); the system was fully established in the Han Dynasty.

3. They are the concept of harmony between humans and nature, the social function of ethical education, and the folk belief in pursuing good fortune and avoiding misfortune.

4.They are the living inheritance in folk festivals and celebrations, the innovative expression in artistic creation, and the extensive application in commercial design.

5. The main challenges are insufficient cognition among young people, a single mode of inheritance, and the neglect of cultural core in commercial development.

==期末论文==
===十二生肖的文化内涵及现代价值研究===
====摘要====
十二生肖是中国传统文化里辨识度极高的符号，藏着古人对自然、生命和社会的理解。流传几千年下来，它早就融进了民俗、艺术、语言这些方方面面。这篇文章先谈论十二生肖的起源，再梳理它的文化意思是怎么变的，看看它在现在社会里是怎么传下来、怎么创新的，也探讨下这个老符号在当下文化建设里的价值。希望能给传统文化的活态传承提供点实际参考。
关键词
十二生肖；文化符号；民俗传承；现代价值
====引言====
十二生肖就是鼠、牛、虎、兔、龙、蛇、马、羊、猴、鸡、狗、猪，这十二种动物，和十二地支配对用来纪年，是老祖宗们的智慧结晶。从先秦时候开始出现，到汉代慢慢固定下来，它不只是记年份的工具，还留下了宗教信仰、民俗习惯和做人的道理，成了个复杂的文化集合体。
现在全球化和现代化交织在一起，很多传统文化符号要么被忘了，要么变了味，但十二生肖一直很有生命力，不管是过年过节、艺术创作，还是商业设计里，都能看到它的影子。研究十二生肖的文化意思和现在的价值，不光能搞清楚传统文化符号是怎么传下来的，还能给现在的文化创新提供本土素材。这篇文章会结合书本资料和实际观察，从起源、内涵、传承这三个方面入手，挖一挖十二生肖背后的文化基因。
====十二生肖的起源考据与历史定型====
关于十二生肖是怎么来的，专家们还没达成一致，主要有三种说法：动物崇拜说、天文历法说和外来文化说。

动物崇拜说应该是最让人信服的。古代人靠打猎、种地过日子，动物和生存息息相关，慢慢就对它们产生了敬畏和崇拜。比如牛是种地的关键，虎代表着力量和威严，龙则是人们把多种动物特点拼起来创造的神物，寄托了希望风调雨顺的心愿。把这些动物放进纪年系统里，本质上就是古人把自然力量当成“人”来看待。
天文历法说认为，十二生肖和十二地支的起源分不开。十二地支是古人用来记时的符号，和木星绕太阳转的周期有关。古人把十二种动物和十二地支配对，是为了让抽象的历法好记、好传播。《周礼》里提到，先秦时候就有“十二辰”的说法，这为十二生肖和十二地支的结合打下了基础。
外来文化说是郭沫若先生提出来的，他觉得十二生肖起源于古巴比伦的黄道十二宫，通过丝绸之路传到中国，和本土文化融合后形成了现在的纪年系统。这个说法引发了很多讨论，但目前没有直接的考古证据支持。更多专家觉得，十二生肖是中国本土文化发展的结果，外来文化可能有过影响，但不是主要起源。
从考古发现来看，《日书》里，已经有了“子鼠、丑牛、寅虎、卯兔、辰龙、巳蛇、午马、未羊、申猴、酉鸡、戌狗、亥猪”的完整顺序，这是目前已知最早的明确记载。到了汉代，十二生肖的体系彻底固定，还被纳入了官方历法，上到皇帝大臣，下到普通百姓，都用它来纪年。《论衡》里详细解释了十二生肖和地支的对应关系，这也说明十二生肖的文化意思开始往哲学、做人道理这些方面延伸了。
====十二生肖的文化内涵解读====
十二生肖固定下来后，就不只是用来记年份了，成了承载中国传统文化核心精神的符号，主要有三个方面的意思。
=====天人合一的自然观=====
十二生肖的排列顺序里，藏着古人对自然规律的认识。从动物的生活习惯来看，老鼠夜里活动多，就对应子时；牛在丑时会反刍，就对应丑时；老虎在寅时最凶猛，就对应寅时。这种“用动物习性配时辰”的方式，体现了古人“天人合一”的想法——人类和自然不是对着干的，而是互相依存、和谐共处的。十二生肖把时间、动物和人的生活绑在一起，反映了古人顺应自然、利用自然的生存智慧。
另外，十二生肖里包括了哺乳动物、爬行类、鸟类甚至还有虚幻的动物龙，但一样能和谐共处，足见古人对于各种生物都有着宽容以及尊重的态度；而十二生肖中龙又作为唯一神物，代表着天地人，正是古人对自然界的崇拜以及想象的凝聚。汉画像里经常看到的伏羲女娲蛇身人面像，以及蛇作为生肖之一时常会和创世神灵相连接，同样充满着对自然的崇拜之情。
=====伦理教化的社会功能=====
在传统文化里，十二生肖被赋予了鲜明的道德意义，成了教育普通人的工具。比如牛代表勤劳、朴实，是农耕社会里做人的榜样；羊象征温顺、善良，和儒家讲的“仁”刚好契合；狗代表忠诚、守信用，是人与人相处的道德准则。民间流传的“老鼠嫁女”“牛气冲天”这些生肖故事，情节生动有趣，把勤劳、善良、忠诚这些好品质传递给大家，尤其是小朋友，慢慢影响着他们的言行。
同时，十二生肖代表家族相处的基本道理，我国古代每逢婚嫁常被相互亲戚评议两人是否年纪与生肖相配，如常有“龙配龙、凤配凤”的婚姻说法，看起来像是十分迷信的传统思想，但究其实质还是希望二人相亲相爱，同时也渴望家庭和睦、社会稳定。正是这种根植于族属的伦理观念，渗透到我国传统社会的家庭结构当中。可现在的年轻人都不迷信“生肖决定命运”这一套，像以往的“十羊九不全”，现在有很多属羊的青春年少辈纷纷工作有成，还有些两人创业事业双赢，温馨幸福生活被当作炫耀的谈资。
=====趋吉避凶的民俗信仰=====
十二生肖在民间民俗里占有很重要的位置，是人们希望吉祥、躲避灾祸的精神寄托。春节的时候，大家会贴有生肖图案的春联、窗花，挂生肖灯笼，盼着新的一年平平安安、顺顺利利；到了本命年，大家会穿红衣服、戴生肖饰品，想化解“太岁”带来的不好运气。这些民俗虽然有点迷信，但都是人们对美好生活的向往。

另外，十二生肖在算命占卜中同样具有影响力。一些在古代是由术士利用十二生肖来断定人以后的命运、婚姻、财运，虽然这样的事情缺乏科学性，但对于普通百姓来说也许还有那么一点用处。随着时代的发展，社会的进步，现在有关生肖占卜的迷信色彩已经消逝了很多，但是由于它是我们国家的民俗文化之一，因此至今仍然存在。
====十二生肖在现代社会的传承与创新====
进入现代社会，十二生肖靠着独特的文化魅力，在传承传统民俗的同时，不断加入新时代的元素，依然充满活力。它的传承和创新主要集中在三个领域。
=====民俗节庆的活态传承=====
民俗节庆是十二生肖传承的重要载体，春节、元宵节之类的传统节日当中一定有生肖的身影，譬如2024年的龙年，全国各地就会举行一些以“龙”为主题的各种灯会、庙会或者舞龙活动。春节前后，北京的地坛庙会有龙形花灯、南京夫子庙会有闹元宵时的龙灯巡游、广州又有各种各样的醒狮、舞龙表演……大家在参与各种各样的活动中了解和感受着传统生肖文化和现代节庆活动结合后散发出的魅力。
再有就是生肖文化融入非物质文化遗产的保护中了。各种各样的剪纸、皮影、泥塑等传统民间艺术，大多是关于十二生肖的内容。剪纸艺人会剪各种惟妙惟肖的生肖图案，皮影艺人也会用皮影戏来讲各种生肖故事，将蕴含于这些非遗中的生肖文化传承下来，同时也使传统手艺人得以将手艺活起来；像铜雕艺人以生肖做题材作品，《灵蛇定干坤》（2025年蛇年）运用传统非遗技艺并融合现代着色工艺，该文创铜雕十分受大众欢迎。
=====艺术创作的创新表达=====
传统的十二生肖成为众多当代艺术家笔下的宠儿，在绘画、雕塑、影视、动漫等不同领域有着非常丰富的表现形式，还有画家韩美林画了许多以生肖为主题的水墨画作品，用传统水墨与现代抽象融合的方式让生肖动物焕发出不同的艺术气息；雕塑家吴为山用中国近现代肖像雕塑名作精神气度塑造形象，这是新时代的中国雕塑，也是写意的风神气韵造像。
影视动漫也是比较受大家喜爱的生肖作品，比如动画电影《十二生肖总动员》，是以十二生肖作为原型打造的十一生肖集结令醒狮英雄团结起来，跟随小狮王英勇战斗闯险破难拯救世界的动画电影，有很好地传递出团结的力量，以及勇敢的拼搏等正能量，并让年轻人能了解到生肖的知识，同时青春气息强。还有影视剧《十二生肖传奇》以生肖的起源和传说为中心展开故事。还有在2025年的蛇年中，央视春晚吉祥物“巳升升”、联合国蛇年生肖邮票和诸多生肖设计大赛的作品都把生肖蛇形象变得更加萌趣可爱，更加符合当下人的审美需求。
=====商业设计的广泛应用=====
十二流行的生肖元素以较高的辨识度经常出现于各种商业设计上。文创类产品、时尚服饰、品牌logo、各类宣传广告，都有使用到生肖元素。故宫博物院推出过年宵单品：生肖书签、生肖印章、生肖手办，将传统生肖文化与现代设计理念相结合，十分受欢迎。运动品牌李宁在龙年也推出了“龙系列”的运动服装，服装上面都印有龙的图案，这样既能体现出文化自信又能满足大众的需求。
另外，生肖文化用于品牌营销中，在生肖年份推出限量版产品如：茅台生肖酒、可口可乐生肖瓶等来吸引人的注意，把生肖引入品牌宣传中可以增加品牌的吸引力及文化价值；艺人也会做相关的生肖主题的邮册类作品，如《虎福临门》《金蛇纳福》……已经做了七册之多，既有邮政文化的意味，又传递了生肖祝福的信息，无形之中推动着生肖文化的传播。
====十二生肖文化传承的挑战与对策====
尽管十二生肖时至今日依旧鲜活地存在于大家日常生活中，并被大家积极拥抱接纳，但是传承的过程却并不平坦，也遇到了不少问题。首先是受全球化和现代化的影响，很多年轻人都更喜欢西方文化符号的东西，不太了解我国传统生肖文化；其次，由于生肖文化传承单一，如有些节日、民俗与当下生活脱轨，就很难引起年轻人的关注；再者就是有的商家在开发时一味追求产品的可玩性或者噱头，不顾传统生肖文化的精神内核，让生肖文化的传承走上了歧途。
为此，提出以下三点对策：一是加强生肖文化教育普及，把生肖文化编入中小学传统文化课程，运用课堂教学、课外活动等形式向学生介绍生肖文化的相关知识，使年轻人认识生肖文化的来历和意义，并学会传播这一民族文化，增加文化自信；二是创新生肖文化的传承方式，利用虚拟现实、增强现实等技术，开发相应的生肖文化体验产品，提升人们的体验感，促进人们对生肖文化的认知，吸引人们接受生肖文化；三是规范生肖文化的商业开发，加强对生肖文化产品的监管力度，指导商家把握商品的文化内核，减少盲目跟风的现象，克服生肖文化产品的同质化弊端，促使生肖文化产业发展提质增量。
====结语====
十二生肖是中华民族千年文化瑰宝，蕴含古人思想感情，经久不衰；从古时候的纪年方式到现在成为文化符号，十二生肖含义越发丰厚，传承方式也越来越多；现代社会继承、发展十二生肖文化既是尊重、保护中华优秀传统文化，也是加强我国社会主义文化建设的有效途径之一。
未来我们还要继续深入开掘十二生肖文化的内涵，创新十二生肖文化传承的方式，使其与现代社会相融互促，使这个古老的符号呈现出愈加辉煌的新形象。

===参考文献===
[1] 李学勤. 睡虎地秦简《日书》研究[M]. 北京:中华书局,2005.

[2] 袁珂. 中国古代神话[M]. 北京:华夏出版社,2013.

[3] 钟敬文. 民俗学概论[M]. 上海:上海文艺出版社,1998.

[4]晏昌贵.中国传统生肖文化探源[J].人民论坛,2025.

[5]李小玉.十二生肖的故事[J].疯狂英语(初中天地),2025.

===术语===
十二生肖 - Chinese Zodiac

十二地支 - Twelve Earthly Branches

天人合一 - harmony between humans and nature

民俗信仰 - folk belief

非物质文化遗产 - Intangible Cultural Heritage (ICH)

文化符号 - cultural symbol

文化内核 - cultural core

文化创新 - cultural innovation

===问题===
1. 十二生肖的起源有哪三种主要说法，其中认可度较高的是哪一种？

2. 最早明确记载十二生肖完整顺序的文献是什么，该体系在哪个朝代彻底固定？

3. 十二生肖承载的传统文化核心精神包含哪三个方面的内涵？

4. 现代社会中，十二生肖传承与创新主要集中在哪三个领域？

5. 当前十二生肖文化传承面临的主要挑战有哪些？

===答案===
1.动物崇拜说、天文历法说、外来文化说；认可度较高的是动物崇拜说。

2.《日书》；汉代。

3.天人合一的自然观、伦理教化的社会功能、趋吉避凶的民俗信仰。

4.民俗节庆的活态传承、艺术创作的创新表达、商业设计的广泛应用。

5.年轻人认知不足、传承方式单一、商业开发忽视文化内核。

User:Zhang Shuaichao

2026-02-21T19:18:42Z

Root: Created page with "My name is Zhang Shuaichao, and I specialize in English translation. The theme of my thesis is Ru porcelain, and I hope to promote the culture of hometown. ==Final Exam== ===..."

My name is Zhang Shuaichao, and I specialize in English translation. The theme of my thesis is Ru porcelain, and I hope to promote the culture of hometown.
==Final Exam==
=== Ru Porcelain===
====Introduction====
In the long scroll of Chinese ceramic history, Ru ware is like a meteor that suddenly streaks across the night sky. Its brilliance was brief but has been eternally inscribed in the memory of civilization. It did not originate from the hustle and bustle of market workshops, nor was it mass-produced for overseas trade. Instead, it emerged from the depths of the imperial court during the late Northern Song Dynasty, born of an extreme aesthetic awareness. Its fate was closely tied to the artistic personality of Emperor Huizong of Song, Zhao Ji, who was renowned for his calligraphy and painting. His aesthetic was deeply influenced by Taoist philosophy and the artistic conception of literati painting, pursuing a realm of "heavenly craftsmanship and freshness". When Ding ware white porcelain was deemed "unsuitable for use" due to its "rough edges" and overly elaborate decoration, an imperial decree directed towards Ruzhou marked a turning point in ceramic history. The Ru kiln was thus elevated from a civilian kiln to an "official kiln" dedicated to the imperial court, with its mission shifting completely from practical market use to pure artistic expression. However, history was extremely stingy with the time given to this ultimate pursuit. The flames of war during the "Jingkang Incident" abruptly consumed the prosperity of the Northern Song Dynasty, and the kilns of Ru official ware were extinguished, with its secret techniques lost in the dust of history. This sudden end has instead bestowed a tragic and sacred aura upon each of its surviving pieces, making them dual witnesses to the glory of the era and the downfall of the empire, and establishing their unparalleled legendary status.
====the Secrets of Site====
Where exactly did this legendary kiln fire first ignite? After a thousand years of searching, it was finally confirmed at the end of the 20th century in Qingliangsi Village, Baofeng County, Henan Province. The archaeological excavation revealed a highly specialized and tightly organized imperial production site. This area was distinct from the large-scale civilian kiln zones, with a compact layout and a small number of kilns, all hinting at the "pursuit of quality over quantity" characteristic of imperial use. The mountains of discarded porcelain shards were a shocking testament to the extremely strict and almost ruthless selection standards of the time - any piece with even the slightest flaw would be smashed on the spot and buried deep, ensuring that only the perfect ones could leave the kiln. These fragments buried by time have become precious keys for later generations to decode Ru porcelain. They confirmed the delicate and warm texture of the "incense ash body", revealed the details of the "sesame seed nail" support firing technique, and with their pure sky-blue glaze, echoed the few surviving Ru porcelains, providing irrefutable physical evidence that solidified this place's status as the core production site of Ru official kilns, grounding the legendary tales in historical reality.
====Manufacturing process====
The beauty of Ru porcelain is so uniquely distinctive, and the core lies in the ancient artisans' mastery of a specialized firing technique. The craftsmen must first select the special clay from local sources, washing and settling it repeatedly to filter out all impurities, ultimately obtaining a fine clay-like material resembling flour. When fired with this clay, the body takes on a faint grayish-white hue, feeling exceptionally smooth and silky—a trade term known as "fragrant ash body." These are no ordinary steps but the foundation for the entire porcelain piece, supporting subsequent glaze colors and textures. The firing process itself poses a formidable test for the craftsmen. During firing, they must precisely control the heating and cooling rhythms, meticulously adjusting the kiln's atmosphere at critical junctures. Only by mastering these details can the pure, soft, and serene celadon hue be achieved. After the Ru porcelain is removed from the kiln, another crucial step lies in the cooling phase. At the microscopic level invisible to the naked eye, the glaze's internal structure gradually transforms, forming layers of extremely fine textures. When light strikes the porcelain surface, it doesn't reflect directly back but instead diffuses slowly among these delicate textures, ultimately revealing a luster as smooth as jade yet more subdued—a quality never achievable solely through glaze formulations. This unparalleled texture emerges only through the interplay of multiple factors: the earth refined by intense fire and the craftsmen's mastery of natural rhythms, all working in perfect harmony.
====Aesthetic Reflection====
When admiring Ru porcelain, one always feels its beauty carries profound significance. That hue of celadon is hard to define, as if capturing the softest moment of dawn sky—delicate, hazy, and soothing to the heart upon prolonged gaze. The forms of Ru porcelain are equally simple, devoid of ornate carvings, relying solely on the curvature of lines to convey charm. This simplicity is not emptiness but the most genuine form left after repeated refinement, growing more intriguing with each glance. Most fascinating is how the minimalist shapes paired with warm glazes imbue the entire vessel with a soul. You’ll recall the sky in nature, the virtues of a gentleman as taught by ancient sages, and even sense the marks time has left on the porcelain’s surface. This beauty is understated yet powerful, capable of quieting the mind and allowing moments of self-reflection.
====Historical Status====
When we place Ru porcelain among the numerous famous kilns of the Song Dynasty, its uniqueness and grandeur become even more evident. Compared to Ding kiln: Ding kiln's white porcelain is renowned for its carved and printed designs, adorned with exquisite and beautiful decorations. Ru porcelain, however, follows a different path—it steps back, embracing simplicity, as if exploring the inner essence of the vessel itself. In contrast to Jun kiln: Jun kiln's beauty lies in the unexpected, dazzling colors achieved through kiln transformation, appearing unrestrained and radiant. Ru porcelain, on the other hand, presents the opposite—a serene and pure beauty achieved through meticulous restraint, a quiet elegance. Even later kilns influenced by Ru porcelain, such as the Southern Song Official Kiln and Ge Kiln, bear a distinct difference. Their glazes tend to be deeper, with more regular and deliberate crackle patterns, exuding a solemn sense of ritual while lacking Ru porcelain's uniquely clear, vibrant, and poetic spirit. Thus, Ru porcelain holds a special place in ceramic history, standing alone atop an aesthetic peak almost unmatched. It represents an irreplicable era—where top-tier craftsmanship, unique materials, an emperor's ultimate personal taste, and the aesthetic pursuits of an entire age converged perfectly, creating an unprecedented and unparalleled masterpiece.
====Current Value====
Ru porcelain is no longer just an old item. It is more like a cultural symbol, representing a choice: to let go of exaggeration, return to reality, and find a comfortable feeling of living with nature. We stand in front of the display cabinet to look at the few genuine items, or to touch the tea utensils that are carefully imitated. What truly moves our hearts is actually the endless desire of people for ultimate perfection and spiritual pursuit. The legend of Ru porcelain is like a story about "perfection" - it was created and slowly disappeared, but later generations searched for it generation after generation. The color of 'blue after the rain' seems like a clean memory left by the sky for future generations after a thousand years when a rain stopped. It is so clear and distant that when people look at it, they will lose focus and yearn for it from the bottom of their hearts.
===Reference===
1.河南省文物考古研究所. 宝丰清凉寺汝窑. 郑州：大象出版社，2008.

2.叶喆民. 中国陶瓷史. 北京：生活·读书·新知三联书店，2006.

3.冯先铭. 汝窑的发现及其相关诸问题. 见：中国古陶瓷研究会编. 中国古陶瓷研究. 北京：科学出版社，1987.

4.郭木森. 浅谈汝窑、官窑与张公巷窑. 故宫博物院院刊，2009(6).

5.李国霞，等. 汝官瓷和钧官瓷胎釉原料的核分析研究. 原子能科学技术，2005(S1).
===Terms===
香灰胎ash colour body 天青Azure 古玩antique 轮廓线Contour line
===Questions===
1.Why is Ru porcelain so rare and legendary in history?
2.How has modern archaeology verified the production source of Ru porcelain?
3.What are the unique scientific and aesthetic characteristics of Ru porcelain's "sky-blue glaze"?
4.What fundamentally distinguishes Ru porcelain in its aesthetic pursuit?
5.What is the contemporary cultural significance of Ru porcelain?
===Answers===
1.The rarity and legendary status of Ru porcelain stem from its nature as an imperial official kiln product and its extremely brief production period. It was not a commercial commodity but exclusively made for the Northern Song court (c. 1086–1126) to satisfy Emperor Huizong's personal aesthetic ideals.
2.In the late 20th century, archaeologists discovered the official Ru kiln site at Qingliangsi Village, Baofeng County, Henan Province. The site yielded numerous shards, kiln tools, and damaged vessels with sky-blue glaze, whose body material, glaze color, and spur-marks matched those of extant Ru pieces.
3.Scientifically, Ru's sky-blue glaze is a high-silica, low-alumina lime-alkali glaze mixed with agate powder. Fired in a specific reducing atmosphere at around 1250°C, the glaze undergoes liquid-phase separation during cooling, forming nano-scale phase-separated structures that scatter light, creating a soft.
4.The fundamental distinction lies in Ru porcelain's extreme simplicity and spiritual expression. Ding ware is known for its exquisite incised and molded white porcelain, emphasizing decorative skill; Jun ware is celebrated for its flamboyant copper-red glaze variations, pursuing accidental color effects and visual drama.
5.contemporary culture, Ru porcelain has transcended its status as an antique to become a symbol of Chinese high culture and the spirit of ultimate aesthetics. Its advocated philosophy of "simplicity, nature, and introspection" continues to influence modern design, art, and lifestyle. In technical recreation.
==期末论文==
===汝瓷===
====介绍====
中国陶瓷史的长卷中，汝瓷似一颗骤然划破夜空的流星，其光芒短暂却永恒地铭刻在文明的记忆里。它并非源于市井作坊的喧嚣，亦非为贸易远洋而批量生产，而是诞生于北宋末年宫廷深处一场极致的审美自觉。其命运与宋徽宗赵佶的艺术人格紧密相连。这位以丹青笔墨名世的皇帝，其审美深受道家哲学与文人画意熏陶，追求“天工与清新”之境。当定窑白瓷因“有芒”且装饰趋于工巧而被视为“不堪用”时，一道指向汝州的御命便催生了陶瓷史的转折。汝窑由此从民窑升格为专供禁中的“官窑”，使命从市场实用彻底转向纯粹的艺术表达。然而，历史给予这份极致追求的时间吝啬至极。“靖康之变”的烽火骤然吞噬了北宋繁华，汝官窑的炉火也随之熄灭，其工艺秘技飘散于历史尘埃。这种戛然而止的命运，反而为其每一件传世品笼罩上悲剧性的神圣光环，使其成为盛世荣光与帝国倾覆的双重见证，奠定了其无与伦比的传奇底色。
====地点选址====
这传奇的窑火究竟在何处燃起？千年的探寻终于在二十世纪末于河南宝丰清凉寺村得到确证。考古发掘揭开的，是一个高度专业化、组织严密的宫廷生产现场。此处与规模庞大的民窑区判然有别，区域紧凑，窑炉精少，处处透露“求精不求多”的御用属性。堆积如山的废弃瓷片，更是触目惊心地诉说着当时严苛到近乎无情的拣选标准——任何稍有瑕疵的制品，都会被当场砸碎深埋，以确保“唯完美者方可出窑”。这些被时光掩埋的残片，成为后世解码汝瓷的珍贵钥匙。它们确证了“香灰胎”的细腻温润，揭示了“芝麻挣钉”支烧的工艺细节，更以其纯正的天青釉色，与寥若晨星的传世汝瓷遥相呼应，以无可辩驳的物证，坐实了此地作为汝官窑核心产地的历史地位，将文献记载中的传奇落于实地。
====制作工艺====
汝瓷的美能这么独特，核心就是古人琢磨出了一套绝活儿烧制法。工匠得先从当地挑那种特别的陶土，一遍又一遍地淘洗、沉淀，把土里头的杂质都滤干净，最后才能得到细得像面粉似的泥料。用这种泥料烧出来的胎体，是淡淡的灰白色，摸上去滑溜溜的特别润，行里人都叫它“香灰胎”——这可不是随便的步骤，正是给整只瓷器打下的好底子，后续的釉色、质感都得靠它撑着。烧窑这道工序，对匠人来说更是实打实的考验。烧窑时，匠人得精准拿捏火候的升温与降温节奏，还得在烧窑的关键节点里，仔细调控窑内的气氛走向，只有把这些细节都把控到位，才能烧出那抹澄澈又柔和的天青色。等汝瓷出窑后，冷却的环节里还藏着最后一重门道。在肉眼看不见的微观层面，釉层内部的结构会慢慢发生变化，形成一层层极细的纹理。当光线落在瓷面上时，不会直直地反射回去，反而会在这些细密的肌理间缓缓漫开，最终呈现出一种像玉石般温润、却又比玉石更内敛的光泽。这般独特的质感，从来不是只靠釉料配方就能造出来的，而是泥土经烈火淬炼、匠人顺天时把控，多重因素相互配合才打磨出的成果。
====美学凝思====
赏汝瓷的时候，总觉得它的美藏着特别的深意。那抹天青色很难说清，就像把清晨天空最柔和的瞬间定格了，淡淡的、朦朦胧胧的，多看几眼，心就静了下来。汝瓷的造型也极简单，没有花哨的雕刻，只靠线条的弧度传递韵味。这份简洁不是空无一物，而是反复打磨后留下的最本真模样，越看越有味道。最有意思的是，简约造型搭配温润釉色，整件器物就有了灵气。你会想起自然里的天空，想起古人讲的君子修养，甚至能触摸到时间在瓷面上留下的印记。这种美不张扬，却带着力量，能让人沉下心来，好好和自己相处片刻。
====历史地位====
当我们把汝瓷放到宋代那么多名窑里去看，它的特别和崇高就更明显了。和定窑比：定窑的白瓷，靠刻花、印花出名，装饰得精巧漂亮。汝瓷走的是另一条路——它往回走，往简单里走，更像是探索器物自己的内心。和钧窑比：钧窑的美，在于窑变后那些意想不到的绚丽色彩，奔放、灿烂。汝瓷的美却正好相反，它展现的是一种被高度克制后的宁静和纯粹，是安安静静的美。就算是后来受它影响的南宋官窑和哥窑，味道也不太一样。它们的釉色往往更深沉，开片的裂纹也更规矩、更刻意，带着一种庄重的仪式感，而少了汝瓷那种独有的清透、鲜活，还有那份诗一样的灵气。所以说，汝瓷在陶瓷史上的位置很特别，它独自站在一个几乎无人能及的美学山顶上。它代表着一段无法重来的历史——那是顶级的工艺、特别的材料、一位皇帝极致的个人品味，加上整个时代的审美追求，所有这些因素刚好碰在一起，造就的一场空前绝后的完美相遇。
====当今价值====
汝瓷到了现在，早就不只是一件老物件了。它更像一个文化符号，代表着一种选择：放下浮夸，回归真实，找和天地自然相处的舒服感觉。我们站在展柜前看那没几件的真品，或是平常摸一摸用心仿的茶器，心里真正被打动的，其实是人对极致完美和精神追求的那份一直没停的渴望。汝瓷的传奇，就像一个关于“完美”的故事——它被造出来，又慢慢消失，后人却一代又一代地找它。那“雨过天青”的颜色，好像千年前一场雨停了，天空留给后人的一段干净记忆。它那么清透，那么遥远，人看着看着，就会走神，打心底里向往。
===参考文献===
1.河南省文物考古研究所. 宝丰清凉寺汝窑. 郑州：大象出版社，2008.

2.叶喆民. 中国陶瓷史. 北京：生活·读书·新知三联书店，2006.

3.冯先铭. 汝窑的发现及其相关诸问题. 见：中国古陶瓷研究会编. 中国古陶瓷研究. 北京：科学出版社，1987.

4.郭木森. 浅谈汝窑、官窑与张公巷窑. 故宫博物院院刊，2009(6).

5.李国霞，等. 汝官瓷和钧官瓷胎釉原料的核分析研究. 原子能科学技术，2005(S1).
===术语===
香灰胎ash colour body 天青Azure 古玩antique 轮廓线Contour line
===问题===
1.为何汝瓷在历史上如此稀有且具有传奇色彩？

2.现代考古学如何证实了汝瓷的生产源头？

3.汝瓷的“天青釉”有何独特的科学与美学特征？

4.汝瓷在美学追求上有何根本区别？

5.汝瓷的当代文化意义是什么？

===答案===
1.汝瓷的稀有性与传奇地位，源于其作为宫廷官窑制品的属性以及极为短暂的生产周期。它并非商品，而是专门为北宋宫廷（约1086–1126年）烧造，以满足宋徽宗个人的审美理想。

2.20世纪末，考古学家在河南省宝丰县清凉寺村发现了汝官窑遗址。该遗址出土了大量带有天青釉的瓷片、窑具及残器，其胎质、釉色与支钉痕均与传世汝瓷相符。

3.从科学角度，汝瓷的天青釉是一种掺入了玛瑙末的高硅低铝石灰碱釉。在大约1250°C的特定还原气氛中烧成，釉层在冷却时会发生液相分离，形成纳米尺度的分相结构，散射光线

4.根本区别在于汝瓷极致的简约性与精神性表达。定窑以其精美的刻花与印花白瓷闻名，强调装饰技艺；钧窑则以其绚烂的铜红窑变釉著称，追求色彩的偶然性与视觉冲击力。

5.在当代文化中，汝瓷已超越其古董身份，成为中国高雅文化与极致美学精神的象征。它所倡导的“简约、自然、内省”的哲学，持续影响着现代设计、艺术与生活方式。

SpecialPages/User:Qu Yiying

2026-02-21T19:14:49Z

Root: Created page with "Temple Fairs: A Treasure of Traditional Chinese Folk Culture Contents 1.Temple Fairs 1.1 General Introduction 1.2 Historical Origin and Development Context 1.3 Core Activiti..."

Temple Fairs: A Treasure of Traditional Chinese Folk Culture

Contents

1.Temple Fairs
1.1 General Introduction
1.2 Historical Origin and Development Context
1.3 Core Activities
1.4 Regional Characteristics and Urban-Rural Differences
1.5 Social Functions
1.6 Cultural Vigilance
1.7 Conclusion
2. References
3. Terms and Expressions
4. Questions
5. Answers
==期末论文==
===Temple Fairs===

====General Introduction====

Temple fairs, also known as "temple markets" or "festival fairs", are a traditional folk activity widely popular among the Chinese people. As a national-level intangible cultural heritage (ICH), their emergence can be traced back to the religious activities of local temples, and they are typically held on traditional festivals such as the Lunar New Year, the Lantern Festival, and Dragon Head-Raising Day (the second day of the second lunar month). As an important component of Chinese folk culture, temple fairs serve multiple functions, including religious sacrifice, commodity trade, folk performance, and social interaction. They embody the collective memory and life wisdom of the Chinese nation’s thousands of years of civilization, and their emergence and evolution have always been closely intertwined with the daily lives of the general public.

====Historical Origin and Development Context====

The history of Chinese temple fairs can be traced back to the sacrificial activities of remote antiquity, and their development process can be roughly divided into four stages.

1.Remote Antiquity

The earliest temple fairs originated from the ancient system of ancestral temple and state altar rituals. To seek the blessing of ancestors and deities, the early inhabitants communicated with them through offerings and sacrifices held in palaces or dwellings. On each sacrificial day, to enhance the atmosphere, people would perform splendid singing and dancing shows, known as shexi (village ritual operas) or temple fair operas. It was from these practices that temple fairs took shape.

2.Pre-Qin Period to the Han Dynasties

During the Qin Dynasty, the content of temple fairs remained singular and stable, centered solely on the worship of ancestors and deities. In the Western Han Dynasty, Taoism initially took form. Under the influence of religious beliefs, temple fairs began to exhibit diverse characteristics, and various associated customs started to take preliminary shape. Buddhism was introduced to China during the Eastern Han Dynasty, sparking fierce survival competition with Taoism. Consequently, on the basis of their religious rituals, both Taoist and Buddhist temple fairs added popular entertainment elements such as dances, dramas, and processions to attract followers.

3.Wei, Jin, Southern and Northern Dynasties to the Tang and Song Dynasties

In the Wei, Jin, Southern and Northern Dynasties, temples were no longer exclusive to monks; their public role became increasingly prominent. While gathering for sacrifices, believers gradually began to engage in simple commodity trading. The Tang and Song Dynasties were a critical period for the maturation of temple fairs: the prosperity of the commodity economy led to the formation of fixed markets around temples. During this era, temple fairs transcended their purely religious nature and evolved into integrated events that combined three core functions: worshipping deities, entertaining people, and promoting trade. Folk elements like dragon and lion dances and opera performances were incorporated into temple fairs, whose participants expanded from religious believers to the general public, and whose reach extended from rural areas to cities.

4.Ming and Qing Dynasties

In the Ming Dynasty, many temple fairs began to shift toward a market-oriented focus. Most attendees came for sightseeing or shopping, while relatively few participated in actual sacrifices or pilgrimages. A large number of "Shanxi-Shaanxi Guild Halls" emerged in the Central Plains during this period. Dedicated to worshipping Guan Yu, these guilds built temples, shrines, and especially opera towers and other ritual venues—further expanding the influence and role of temple fairs. By the Qing Dynasty, temple fairs had developed into two distinct types: the so-called "multi-functional temple fairs" and "procession fairs". The former included recreational activities alongside religious rituals and deity worship, while the latter involved parading deities’ statues outside the temple grounds—these events featured performances but no market trading.

====Core Activities====

The core appeal of temple fairs stems from the integration and interaction of diverse activities. The solemnity and sacredness of religious sacrifices interweave with the vibrancy of trade and entertainment, forging a unique cultural landscape.

1.Sacrifices and Blessing-Seeking

Sacrifices and blessing-seeking are the original and spiritual core of temple fairs. While the objects of worship vary across different regions, the ritual procedures are largely similar, mainly consisting of incense offering and worship, wish-making and fulfillment, and collective sacrifices. During these rituals, incense, fire, and offerings serve as bridges between humans and deities. With the mediation of mediums or clergy, a complete sacrificial process takes shape. Such rituals provide a channel for people to express their spiritual aspirations.

2.Folk Performances

Folk performances are the most visually engaging part of temple fairs and also an important carrier for inheriting intangible cultural heritage (ICH) skills. They encompass a variety of art forms, including dance, opera, and folk music. Specific events include lion dances, traditional folk flower fairs, modern dance, Beijing folk character cosplay, exhibitions of old Beijing photos, displays of traditional handicrafts, discount book fairs, and special performances of Peking Opera, martial arts, and acrobatics—all bearing distinct traditional ethnic characteristics.

3.Trade Markets

Trade markets are a key component of temple fairs. Traditional temple fair markets primarily featured agricultural products, handicrafts, and local snacks, serving as vital channels for commodity circulation in rural areas. Modern temple fairs, by contrast, have evolved into a combination of culture and consumption, offering a wide range of goods such as ICH-inspired cultural and creative products, internet-famous snacks, and daily groceries. More than just venues for commodity exchange, these markets embody regional food culture and the inheritance of handicraft skills. Iconic temple fair treats and crafts—such as candied hawthorns, glutinous rice rolls with sweet bean paste, sugar paintings, and clay figurines—have become the distinctive taste and visual symbols of temple fair culture.

====Regional Characteristics and Urban-Rural Differences====

In modern society, temple fairs across different regions exhibit remarkable differences in their objects of worship, activity forms, and cultural connotations, forming a cultural landscape.

1.Northern Temple Fairs

Northern temple fairs integrate the dual characteristics of imperial culture and rural local culture. Take Beijing and rural areas in North China as examples: Beijing’s Ditan Temple Fair originated from imperial sacrificial rituals and still retains elements of court etiquette to this day, having evolved into an integrated event combining culture, tourism, and consumption. Rural temple fairs in North China, by contrast, have preserved traditional beliefs. A case in point is the Fanzhuang Dragon Tablet Festival, where the dragon tablet is the object of worship, and interactions unfold among humans, ritual objects, and deities. Northern temple fairs generally attach great importance to the completeness of sacrificial rituals. Their folk performances are dominated by yangko dances, stilt-walking, and traditional opera, while their trade activities feature local agricultural products and traditional handicrafts.

2.Southern Temple Fairs

Southern temple fairs incorporate elements of overseas Chinese culture and marine culture, reflecting an open and inclusive spirit. Consider the examples of Guangdong and Fujian provinces: the March Third Festival of the Northern Emperor in Xixiang, Shenzhen, engages overseas Chinese and the She ethnic group from Jiangxi Province, building a cross-regional and cross-ethnic platform for cultural exchange. Chaoshan temple fairs, meanwhile, draw on the local characteristic of marine fishery, developing grand procession rituals and a distinctive food culture. Compared with their northern counterparts, southern temple fairs place greater emphasis on commodity trade and the strengthening of clan ties.

3.Urban-Rural Differences

Differences in temple fairs are not limited to the north-south divide; urban and rural temple fairs also vary significantly. Rural temple fairs still center on religious sacrifices and beliefs, whereas urban temple fairs prioritize the functions of cultural tourism, consumption, and cultural display. Such differences reflect the functional adaptation of temple fairs to different social environments. Rural temple fairs preserve cultural authenticity, while urban temple fairs achieve the dual benefits of cultural dissemination and economic value through innovation.

====Social Functions====

1.Function of Social Integration and Order Regulation

As periodic collective events, temple fairs serve as an important carrier for promoting social integration among diverse groups and regulating local social order. This integration not only strengthens the bonds within blood and geographical communities but also fosters cross-regional and cross-ethnic cultural identity, which profoundly reflects the existential value of temple fairs.

2.Function of Cultural Inheritance and Gene Continuity

Temple fairs act as a vital medium for the inheritance of intangible cultural heritage (ICH) skills and traditional culture. At these events, cultural exchange takes place through oral instruction, hands-on practice, and personal participation. Folk performances, handicraft demonstrations, and other activities at temple fairs build a bridge for ICH inheritors to showcase and pass on their skills—an avenue through which ancient crafts such as paper cutting, sugar painting, and shadow puppetry are transmitted from generation to generation. Meanwhile, concepts embedded in temple fairs, such as “praying for blessings and good fortune” and “harmony between humans and nature”, shape people’s daily lives and emerge as a key driving force behind the development of Chinese culture.

3.Function of Spiritual Comfort and Emotional Expression

Temple fairs provide people with a channel to seek spiritual comfort and express their emotions, alleviating the psychological stress of daily life. This spiritual support is rooted in the core religious beliefs of temple fairs. In this unique space, people place their spiritual hopes and gain the strength to cope with life’s difficulties. Additionally, temple fairs offer a rare opportunity for individuals, who are usually preoccupied with their own affairs, to gather and interact. Scenes of family reunions, neighborhood meetings, and the reunion of relatives and friends not only fill emotional voids but also strengthen the emotional bonds between people.

====Cultural Vigilance====

Temple fair culture is a composite form with distinct duality: it often combines the essence of folk art with the dross of feudal superstition, and this heterogeneous mixture exerts a complex influence on its participants. Despite the fact that relevant authorities at all levels have consistently conducted targeted guidance and management of temple fairs, the negative impacts of temple fair culture still hold considerable sway. This is largely because over 200 million farmers in China remain illiterate or semi-literate, and their limited cultural literacy, spiritual attainments, and outlook on life leave them vulnerable to such influences.

1.Temple fairs provide a public venue for feudal superstitious activities. Although the motivations behind burning incense, making offerings to Buddhas, and paying homage vary widely, these practices undeniably foster an atmosphere of pious devotion to superstition. This atmosphere in turn shapes the psychology and behavior of participants, and further exerts influence on a broader population.

2.A vicious cycle has formed between the distorted production and consumption of superstitious items. The large-scale use of superstitious artifacts and funeral offerings at temple fairs has created an abnormal demand. This form of cultural consumption directly misleads the production and circulation sectors; the subsequent surge in production, in turn, fuels the growth of such spiritual consumption. Ultimately, this places an additional economic burden on farmers in underdeveloped regions, including mountainous, remote, border, poor, and ethnic minority areas.

====Conclusion====

As a carrier of traditional Chinese culture, temple fairs have undergone thousands of years of evolution and developed a unique form characterized by the coexistence of the sacred and the secular, and the integration of tradition and modernity. The cultural space they create plays a vital role in promoting social integration, inheriting cultural roots, and comforting people’s souls. In the contemporary era, the innovation of temple fairs has ensured the continuity of their cultural vitality, yet they also face numerous challenges. Looking ahead, to achieve the inheritance and development of temple fair culture, it is essential to strike a balance between upholding its cultural heritage and innovating its presentation forms—allowing this ancient folk custom to radiate new vitality in modern society.

===References===

Liang, Y. Z. (2019). Research on the influencing factors of folk festivals on the construction of local identity: A case study of Chengdu Grand Temple Fair[J]. West Leather, (07): 103-104.
Pan, T. W., Zhu, Q., & Xu, Y. M. (2024). Exploration on the inheritance and development of temple fair culture in the digital context[J]. Overseas Digest·Art, (15): 78-85.
Qin, Y., & Liu, H. (2006). Temple fair culture in rural areas of western China in the 1980s and 1990s: A case study of northern Shaanxi[J]. Contemporary China History Studies, 104-110.
Wang, H. (2025). The cultural transformation and capital value of temple fairs from the perspective of rural revitalization[J]. Issues in Agricultural Economy, 112-120.
Zhao, X. D. (2025). A study on the cognitive paradigm of temple fair folk customs[J]. Folklore Studies, (4): 32-41.
Zhao, X. F., & Zhang, H. (2012). Temples and temple fairs: The center for integrating regional social order in rural Guanzhong[J]. Folklore Studies, (6): 131-139.

===Terms and Expressions ===

1.Temple Fair 庙会
2.Intangible Cultural Heritage (ICH) 非物质文化遗产
3.Rituals and Blessings 祭祀祈福
4.Harmony between Humans and Nature天人合一
5.Shadow Puppetry 皮影戏
6.Dragon Tablet Festival 龙牌会
7.Sugar Painting 糖画
8.Yangko Dance 秧歌
9.Paper Cutting 剪纸

===Questions===

1.What is the core definition of Chinese temple fairs?
2.Into which four key stages can the historical development of Chinese temple fairs be divided?
3.What are the three main categories of core activities at temple fairs, and what are the representative forms of each category?
4.What are the differences in regional characteristics between northern and southern Chinese temple fairs?
5.What social functions do temple fairs carry?
6.How should we promote the inheritance and development of contemporary temple fairs?

===Answers===

1.Known also as "temple markets" or "festival fairs", temple fairs are a traditional folk activity widely popular among the Chinese people.
2.The historical development of temple fairs is divided into four stages: ①Remote Antiquity; ②Pre-Qin Period to the Han Dynasties; ③Wei, Jin, Southern and Northern Dynasties to the Tang and Song Dynasties; ④Ming and Qing Dynasties.
3.The core activities of temple fairs fall into three categories: ①Sacrifices and Blessing-Seeking: Main forms include incense offering and worship, wish-making and fulfillment, and collective sacrifices; ②Folk Performances: Covering various art forms such as dance, opera, and folk music, they serve as an important carrier for the inheritance of intangible cultural heritage (ICH); ③Trade Markets: Traditional markets mainly feature agricultural products, handicrafts, and local snacks, while modern ones include ICH-inspired cultural and creative products, internet-famous goods, and more.
4.Represented by temple fairs in Beijing and rural North China, northern temple fairs combine imperial grandeur with a commitment to rural traditions. Represented by those in Guangdong, Fujian, and other regions, southern temple fairs incorporate elements of overseas Chinese culture and marine culture, exhibiting an open and inclusive character.
5.Temple fairs perform three key social functions: ①Social integration and order regulation; ②Cultural inheritance and cultural gene continuity; ③Spiritual comfort and emotional expression.
6.To achieve the inheritance and development of temple fair culture, it is essential to strike a balance between upholding its cultural heritage and innovating its presentation forms, allowing this ancient folk custom to radiate new vitality in modern society.

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庙会：中华民俗文化瑰宝

目录

1. 庙会
1.1 总体介绍
1.2 历史起源与发展脉络
1.3 核心活动
1.4 地域特色与城乡差异
1.5 社会功能
1.6 文化警惕
1.7 结语
2. 参考文献
3. 术语和表达
4. 问题
5. 答案
==期末论文==
===庙会===

====总体介绍====

庙会，又称“庙市”或“节场”，是中国民间广泛流传的一种传统民俗活动。作为国家级非物质文化遗产，庙会的形成源于各地寺庙的宗教活动，通常在农历新年、元宵节、二月二龙抬头等传统节日举办。作为中国民俗文化的重要组成部分，庙会具有宗教祭祀、商品贸易、民俗表演与社会交往等众多功能。庙会承载着中华民族千年文明的集体记忆与生活智慧，其产生与演变始终与民众的日常生活紧密相关。

====历史起源与发展脉络====

中国庙会的历史可追溯至上古时期的祭祀活动，其发展历程大致可分为四个阶段。

1.远古时期

最初的庙会起源于远古时代的宗庙社郊制度。为了求得祖先及神灵的保佑，先民们选择了在宫殿或房舍里通过供奉与祭祀的方式，与之进行对话。每逢祭祀之日，为渲染气氛，人们还会演出一些精彩的歌舞，即社戏，也称庙会戏，庙会便由此形成。

2.先秦至两汉

在秦代时期，庙会的内容仍然单一而稳定，即祭祀祖先与神灵。在西汉时期，道教开始初步形成。庙会受到了宗教信仰的影响，内容开始出现了多元化的色彩，各种习俗也开始初步形成。东汉时期佛教开始传入中国，与道教之间展开了激烈的生存竞争。因此，两教庙会在宗教仪式的基础上增加了媚众的娱乐内容，如舞蹈、戏剧、出巡等，以此来吸引群众。

3.魏晋至唐宋

魏晋南北朝时期，寺庙不再只属于僧人，它的公共属性日益凸显。信徒们聚集在一起祭祀的同时，渐渐有了简单的商品交易活动。唐宋时期是庙会成型的关键期，商品经济的繁荣推动寺庙周边形成固定的集市。这一时期，庙会突破了单纯的宗教属性，成为“祭神、娱人、通商”三位一体的综合性活动。舞龙舞狮、戏曲表演等民俗元素开始融入庙会，参与庙会的群体也从信徒扩展至普通民众，地域覆盖从乡村延伸至城市。

4.明清时期

明朝时期，许多庙会已经开始向市集的性质上转变。大多数是游玩观光或购买商品，真正进行祭祀或拜谒的人并不多。明代中原地区出现许多“山陕会馆”，他们敬祀关羽，立祠建庙，特别是建造戏楼等祭祀场所，使庙会的影响和作用进一步扩大化。到了清代，庙会已经分为所谓的“多内涵型庙会”与“迎神赛会”。前者在宗教、娱神的同时有游乐等活动，而后者则是把神像抬出庙外巡行，是没有集市但有表演的庙会。

====核心活动====

庙会的核心吸引力，源于不同活动的交融碰撞。宗教祭祀的庄严神圣与商贸娱乐的热闹鲜活交织在一起，形成了独一无二的文化风貌。

1、祭祀祈福

祭祀祈福是庙会的本源活动，也是它的的精神内核。各地庙会祭祀对象虽然不同，但仪式流程大体相似，主要包括上香祭拜、许愿还愿和集体祭祀。在祭祀过程中，香、火、供品等成为人与神的沟通纽带，并通过灵媒或神职人员的中介作用，形成完整的供奉流程。这种仪式使民众的心灵诉求得到了表达。

2、民俗表演

民俗表演是庙会中最具观赏性的活动，同时也是非遗技艺传承的重要载体。民俗表演包含了舞蹈、戏曲、曲艺等多种艺术形式。内容有舞狮、传统民族花会、现代舞、北京民俗人物造型、老北京老照片展、民间手工艺展、特价书市和京剧、武术、杂技专场等，都具有鲜明的传统民族特色。

3、商贸集市

商贸集市是庙会的重要组成部分。传统庙会的集市以农副产品、手工艺品、特色小吃为主，是乡村商品流通的重要渠道。现代庙会则升级为文化与消费的结合，涵盖非遗文创、网红小吃、日常杂货等丰富品类。集市不仅是商品交易的场所，更体现着地域饮食文化与手工艺传承。糖葫芦、驴打滚、糖画、泥人等庙会中的特色产品，成为了庙会文化的味觉与视觉特色。

====地域特色与城乡差异====

现代社会，不同地区的庙会在祭祀对象、活动形式、文化内涵上呈现出显著差异。

1、北方庙会

北方庙会兼具皇家文化与乡土文化的双重特质。以北京和华北乡村为例，北京地坛庙会源于皇家祭祀，至今仍保留部分宫廷礼仪元素，已经发展成为文化、旅游、消费三合一的盛会。华北乡村庙会则延续了传统的信仰，如范庄龙牌会以龙牌为祭祀对象，通过人、物、神进行互动。北方庙会普遍注重祭祀仪式的完整性，民俗表演以秧歌、高跷、戏曲为主，商贸活动也以当地农副产品和传统手工艺品为特色。

2、南方庙会

南方庙会融入了侨乡文化与海洋文化元素，透露着开放包容的特质。以广东、福建为例，深圳西乡北帝三月三庙会，联动海内外侨胞与江西畲族，搭建起跨地域、跨民族的文化交流平台。潮汕庙会则结合海洋渔业的本土特色，形成了场面盛大的巡游仪式与特色饮食文化。与北方庙会相比，南方庙会更注重商品贸易的往来与宗族关系的联结。

3、城乡差异

庙会的区别并非只存在于南北之间，城市与乡村的庙会同样有所不同。乡村庙会仍以信仰祭祀为核心内容，城市庙会则更突出文旅消费与文化展示的功能。这样的差异，是庙会在不同社会环境下功能适配的体现。乡村庙会守住文化原真性，城市庙会则靠创新达成文化传播与经济价值的双重效益。

====社会功能====

1、社会融合与秩序调节功能

周期性的集体活动，让庙会成为促进不同群体社会融合、调节地方秩序的重要载体。这种融合既包含血缘、地缘群体的紧密联结，也包括跨地域、跨民族的文化认同，深刻体现出庙会的存在价值。

2、文化传承与基因延续功能

庙会是非遗技艺和传统文化传承的重要媒介。在庙会上，人们可以通过口传心授、亲身参与的方式进行文化交流。庙会上的民俗表演、手工技艺展示等活动，为非遗传承人搭建起展示与传承的桥梁，剪纸、糖画、皮影戏等古老技艺也借此代代相传。同时，庙会中的“祈福纳祥”“天人合一”等思想，影响着民众的日常生活，成为促进中华文化发展的关键力量。

3、心灵慰藉与情感表达功能

庙会给民众提供了慰藉心灵、表达情感的途径，舒缓了人们日常的心理压力。这种心灵层面的支撑，根源于庙会的信仰核心。人们在这个特殊空间里寄托精神，获得应对生活困境的力量。同时，庙会让原本各忙各的人有了相聚交流的机会。家人团圆、邻里相会、亲友重逢的画面，既填补了情感空缺，也加固了人与人之间的情感纽带。

====文化警惕====

庙会文化是一种复合形态，具有明显的两重性，常常是民间艺术精萃与封建迷信糟粕交织在一起，鱼龙混杂影响着受众。虽然各级有关部门始终对庙会进行着有针对性地疏导和管理，但是由于我国农民尚有2亿多文盲半文盲，受到文化修养、精神素质和人生观的局限，庙会文化的负面影响仍具有相当大的市场。

1.庙会为封建迷信活动提供了公开的场所。焚香供佛、顶礼膜拜的心态尽管多种多样，但确确实实创造了一种对迷信虔诚、笃信的氛围，从而左右着受众的心理和行为，进而对更多的人施加影响。

2.迷信品畸形生产与消费形成互动。庙会上迷信品和冥品的消耗，产生了一种畸形的需求。这种文化消费直接误导了生产和流通领域，生产的激增反过来又刺激了这种精神消费的攀升。使本来并不富裕的山老边穷少地区的农民增加了经济负担。

====结语====

庙会作为中国传统文化的载体，历经千年演变，形成了神圣与世俗共生、传统与现代交融的独特形态。它构建的文化空间，在促进社会融合、传承文化根脉、慰藉民众心灵等方面发挥着重要作用。在当代，庙会的革新实现了文化生命力的延续，但同时也面临着许多挑战。未来，要实现庙会文化的传承与发展，就需在坚守文化底蕴与创新呈现形式之间把握好平衡，让这一古老民俗在现代社会重焕光彩。

===参考文献===

梁与舟.(2019).民俗节庆对地方认同构建的影响因素研究——以成都大庙会为例[J].西部皮革(07):103-104.
潘亭婉，朱倩，徐一鸣.(2024).数字化背景下庙会文化的传承与发展探索[J].海外文摘・艺术,(15): 78-85.
秦燕，刘慧.(2006).20世纪八九十年代西部农村的庙会文化——以陕北地区为个案[J].当代中国史研究,104-110.
王浩.(2025).乡村振兴视角下庙会的文化转型及其资本价值[J].农业经济问题,112-120.
赵旭东.(2025).庙会民俗的认知范式研究[J].民俗研究,(4): 32-41.
赵晓峰，张红.(2012).庙与庙会：作为关中农村区域社会秩序整合的中心[J].民俗研究,(6): 131-139.

===术语===

1.Temple Fair 庙会
2.Intangible Cultural Heritage (ICH) 非物质文化遗产
3.Rituals and Blessings 祭祀祈福
4.Harmony between Humans and Nature天人合一
5.Shadow Puppetry 皮影戏
6.Dragon Tablet Festival 龙牌会
7.Sugar Painting 糖画
8.Yangko Dance 秧歌
9.Paper Cutting 剪纸

===问题===

1.中国庙会的核心定义是什么？
2.中国庙会的历史发展可分为哪四个关键阶段？
3.庙会的核心活动包含哪三大类？各类别有哪些代表性形式？
4.中国南北方庙会的地域特色有何差异？
5.庙会承载的社会功能包括哪些？
6.应当怎么样促进当代庙会传承发展？

===答案===

1.庙会，又称“庙市”或“节场”，是中国民间广泛流传的一种传统民俗活动。
2.庙会历史发展分为四个阶段：①远古时期；②先秦至两汉；③魏晋至唐宋；④明清时期
3.庙会核心活动分为三类：①祭祀祈福：以上香祭拜、许愿还愿、集体祭祀为主要形式；②民俗表演：涵盖舞蹈、戏曲、曲艺等多种艺术形式，是非遗传承的重要载体；③商贸集市：传统以农副产品、手工艺品、特色小吃为主，现代包含非遗文创、网红产品等。
4.北方庙会以北京、华北乡村为代表，兼具皇家气派与乡土坚守；南方庙会以广东、福建等地为代表，融入了侨乡文化与海洋文化元素，呈现出开放包容的特质。
5.庙会的社会功能有三点：①社会融合与秩序调节；②文化传承与基因延续；③心灵慰藉与情感表达。
6.要实现庙会文化的传承与发展，就需在坚守文化底蕴与创新呈现形式之间把握好平衡，让这一古老民俗在现代社会重焕光彩。

User:Wang Jinyan

2026-02-02T13:45:33Z

Root: Created page with "Wang Jinyan ==Final Paper== ===Lantern Riddles=== ===== Origin and Evolution: From Courtly Allusions to Popular Refined Play ===== The origin of lantern riddles can be tra..."

Wang Jinyan

==Final Paper==

===Lantern Riddles===

===== Origin and Evolution: From Courtly Allusions to Popular Refined Play =====

The origin of lantern riddles can be traced back to "hidden words" or "obscure language" in ancient political life. During the Spring and Autumn and Warring States periods, court officials often used veiled metaphors to advise rulers, forming a subtle and implicit art of speech, such as the allusion of the bird that "did not fly or sing for three years" referring to King Zhuang of Chu. This method of expressing true meaning through implication constitutes the most primitive kernel of riddles. In the Eastern Han Dynasty, literati elevated this linguistic wisdom to new heights. The eight characters "Huang Juan You Fu, Wai Sun Ji Jiu" inscribed by Cai Yong on the back of the Cao E Stele were deciphered by Yang Xiu as "Jue Miao Hao Ci" (meaning "absolutely wonderful eulogy"). This event is regarded as China's first complete literary riddle. Its approach of deconstructing character forms to grasp meaning established one of the fundamental techniques for later lantern riddle creation.

During the Sui and Tang dynasties, riddle activities gradually shifted from political metaphor to literati entertainment. The Tang Dynasty saw a large number of object-describing poetic riddles, such as Li Qiao's poem "Wind," which describes the state of wind without mentioning the character "wind" (feng) once. The boundary between poetry and riddles began to blur. By the Song Dynasty, with the prosperity of urban commerce and the rise of civic culture, riddle-guessing activities merged with the Lantern Festival market, leading to a crucial formal leap. According to the "Records of the Splendors of the Capital," during the lantern markets in Hangzhou, it was already fashionable to write riddles on silk lanterns for visitors to guess and enjoy. The name and format of "lantern riddles" were truly born from this time, moving from the studies of literati into broader public spaces.

The Ming and Qing dynasties were the peak periods of lantern riddle art, especially the Qing Dynasty, which even gave rise to the saying "Tang poetry, Song lyrics, Yuan opera, Ming fiction, Qing lantern riddles." During this period, riddle societies flourished, specialized works were frequently published, and the creative rules of lantern riddles (such as riddle grids) became increasingly rigorous and refined, covering a vast range of subjects. In the twenty-second chapter of the literary masterpiece *Dream of the Red Chamber*, "Making Lantern Riddles Jia Zheng Foresees Ill Omens," Cao Xueqin cleverly used the riddles made by characters (such as Yuanchun's firecracker and Tanchun's kite) to hint at their destinies, bringing the literary narrative and metaphorical function of lantern riddles to their pinnacle and reflecting the deep integration of lantern riddles into mainstream culture.

===== Essential Structure and Creative Methods =====

A standard lantern riddle consists of three parts: 谜面(the clue or question, which must form coherent text), 谜目 (specifying the scope of the answer, e.g., "guess a character," "guess an idiom"), and 谜底 (the answer). The secret to its creation and guessing lies entirely in utilizing the unique properties of Chinese characters to construct an indirect, circuitous "misinterpretation" connection between the riddle face and the solution. The main creative methods can be classified into the following categories:

Form-based Methods: Focus on the structure of Chinese characters. For example, "Character Decomposition" (also called separation-combination): Decomposing and recombining characters hinted at in the riddle face. Example: Riddle face "Half of 'Spring' and 'Autumn'" (Ban Bu Chun Qiu), guess one character. The solution is to take the upper part "" of "Chun" (spring) and the left part "禾" of "Qiu" (autumn) to form the character "Qin." Other methods include "Character Addition" and "Character Subtraction," which involve adding or removing components to/from a character to form a new one. For example, "Having a mouth but finding it hard to speak" (You Kou Nan Yan) guesses the character "Ya" (亚, because adding "口" [mouth] makes "哑" [dumb]). "He has left; how can the heart be set down?" (Ta Qu Ye, Zen Ba Xin Er Fang) guesses the character "Zuo" (作, because removing "心" [heart] from "Zen" [怎] leaves "Zan" [乍]).

Meaning-based Methods: Focus on the meaning of Chinese characters. The most common is the "Association Method," deriving the solution from the overall or partial meaning of the riddle face's text. For example, "After the Lantern Festival" (Yuan Xiao Jie Hou) guesses the character "Wan" (完, because the "Yuan" [元] is removed after the "Festival" [节]). More advanced is the "Misinterpretation Method," deliberately deviating from the common meaning of a word or phrase to take its alternative meaning, creating clever interest. For example, "Tying the hair to the beam, pricking the thigh with an awl" (Tou Xuan Liang, Zhui Ci Gu) guesses the learning behavior "self-examination" (Zi Kao), where "Kao" (考) is misinterpreted as "beating/torturing."
Homophonic Methods: Utilize conditions of homophony or near-homophony among Chinese characters. For example, "On the deathbed, hoping for the son's return" (Lin Zhong Wang Er Gui) guesses the animal "lion" (Shi Zi), taking the homophony of "Shi" (狮, lion) and "Si" (思, to miss), meaning "missing the son."

Lantern riddle creation emphasizes that "the riddle face must form coherent text; the face and solution must not share characters; the connection must be precise." A good riddle is valued for being "indirect" rather than "direct," rich in riddle flavor, and providing aesthetic pleasure of sudden realization.

===== Cultural Functions and Social Significance =====

Lantern riddles played multiple roles in traditional society. Firstly, they were a bridge for cultural integration. Creating lantern riddles required knowledge of classics, history, philosophy, literature, poetry, and allusions, possessing a strong literati quality. However, their guessing activities took place in the bustling Lantern Festival markets, making them highly popular and entertaining. This characteristic naturally connected the refined culture of the scholar-officials with the popular culture of the common people.

Secondly, they were a vehicle for combining education with recreation. The process of guessing lantern riddles was an excellent way to learn Chinese character construction, review historical knowledge, and master idioms and allusions. For example, the riddle face "Liu Bang hears it and is joyful, Liu Bei hears it and weeps" (Liu Bang Wen Zhi Xi, Liu Bei Wen Zhi Ku) guesses the character "Cui" (翠). The solution interprets it as "Yu Zu" (羽卒, meaning "Yu's death"). Xiang Yu's death brought joy to Liu Bang, while Guan Yu's death brought tears to Liu Bei. This cleverly integrates historical knowledge into a single character.

Thirdly, they were a medium for social interaction. On Lantern Festival night, men and women, old and young, gathered under the lanterns, pondering deeply or discussing with each other. The atmosphere in front of the riddle booths was filled with strong community interaction. The riddle society organizations of the Qing Dynasty further regularized and socialized this kind of exchange, turning it into an elegant form of intellectual socializing.

===== Modern Inheritance and Innovative Challenges =====

Entering modern society, the survival context of lantern riddles has changed dramatically. As Intangible Cultural Heritage, they are protected and continued through school clubs, community activities, television competitions, and other forms. Simultaneously, lantern riddles are actively seeking creative transformation: in terms of subject matter, internet slang, technological terms, and current political can all be incorporated into riddles; in terms of form, new types such as video riddles, online interactive riddles, and riddle-themed public accounts have emerged; in terms of dissemination, they have broken through the limitations of region and festival, becoming intellectual entertainment accessible daily.

A famous case of modern lantern riddles is the riddle that the host Sa Beining once appeared in a CCTV program: "半分春秋半传奇", and play the name of the host. The answer to the riddle is "何炅". The literal meaning of "半分春秋" is "to halve the word legend" (何), and "半传奇" is also "to halve the word spring and autumn" (炅), which cleverly integrates people's names into lantern riddles, arouses the public's heated discussion and enthusiasm for solving puzzles, and shows the agility and fun of interpreting contemporary characters in the form of traditional lantern riddles.

However, lantern riddles also face challenges: on one hand, the traditional cultural context they deeply rely on is weakening; on the other hand, the fast pace of modern life erodes people's patience to savor the "riddle flavor" carefully. Future inheritance requires continuous exploration in areas such as keeping content close to the times, making forms attractive to youth, and utilizing new media for dissemination, while adhering to the core rules of the Chinese character game. Only then can this ancient lamp of wisdom continue to shine brightly in the contemporary era.

===== Conclusion =====

Lantern riddles are a clever and bright lamp swaying in the long river of Chinese culture. They sprouted from the wisdom of ancient hidden words, thrived in the festive atmosphere, and eventually condensed into a unique language art. They are not merely a game but a crystallization of Chinese character aesthetics, intellectual wisdom, and community. In the tide of globalization and digitization, protecting and revitalizing this heritage of lantern riddles means protecting a way of thinking full of wit and meaningful cultural nostalgia. Their vitality stems precisely from the exploration of the infinite possibilities of Chinese character aesthetics, intellectual wisdom, and community. In the tide of globalization and digitization, protecting and revitalizing this heritage of lantern riddles means protecting a way of thinking full of wit and meaningful cultural nostalgia. Their vitality stems precisely from the exploration of the infinite possibilities of Chinese characters and the relentless pursuit of connecting the intellectual and emotional bonds between people.

===References===

1. 百度百科. 猜灯谜[EB/OL]. https://wapbaike.baidu.com/item/猜灯谜/1851428
2. 百度百科. 灯谜[EB/OL]. https://baike.baidu.com/item/灯谜/139296
3. 刘锡诚. 灯谜说略[J/OL]. 中国民俗学网, 2010. https://www.chinafolklore.org/web/?NewsID=6921
4. 张颖. 灯谜：写在彩灯上的“隐语”[N]. 文摘报, 2025-02-19(08). 亦载于中国作家网. https://www.chinawriter.com.cn/n1/2025/0212/c442005-40416902.html
5. 王磊. 二十四谜品[M]. 郑州：中州古籍出版社, 2019.
6. 灯谜写在彩灯上的“隐语”[EB/OL]. 中国作家网. https://www.chinawriter.com.cn/n1/2025/0212/c442005-40416902.html
7. 黄金山. “灯谜”创作法初探（随笔）[EB/OL]. 江山文学网, 2022. http://www.vsread.com/index.php/article/showread?id=958240&pn=1&pn2=1

===Terms and Expressions===

Lantern riddles 文虎 / 灯虎

Conundrum 谜面

Answer to a riddle 谜底

Shouci 廋辞

Biejie 别解

The method of character dissection拆字法

===Questions===

1. What are the fundamental differences between lantern riddles and ordinary folk riddles (e.g., object riddle: "Hemp house, red curtain, inside lives a white fat fellow" - peanut) in terms of cultural attributes, creators, and form of expression?

2. How is the homophonic method specifically applied in lantern riddle creation? Please use the example "On the deathbed, hoping for the son's return" (Solution: Lion) to解析 the process of homophonic conversion and meaning association.

4. In the Internet era, what specific challenges does the inheritance of lantern riddles face? What innovative approaches (e.g., in form, content, dissemination) can be used to attract the younger generation?

5. Try to compare the possible differences in subject matter selection, linguistic style, or community activity形式 between lantern riddles in southern and northern China (e.g., Jiangnan represented by Suzhou and Lingnan represented by Chaoshan). Discuss the regional cultural causes behind these differences.

==期末论文==

===灯谜===

===== 一、源流演变：从庙堂隐语到市井雅玩 =====

灯谜的源头，可追溯至上古政治生活中的“隐语”（亦称“廋辞”）。春秋战国时期，臣子常以隐晦的比喻向君主进谏，形成一种委婉含蓄的言说艺术，如“三年不飞不鸣”之鸟喻楚庄王的典故。这种通过暗示表达真意的方式，构成了谜语最原始的内核。东汉时期，文人将这种文字智慧推向新高度，蔡邕题于曹娥碑背面的“黄绢幼妇，外孙齑臼”八字，被杨修破解为“绝妙好辞”，这一事件被视作中国第一则完整的文义谜，其通过拆解字形会意的思路，奠定了后世灯谜创作的基本法门之一。

隋唐时期，谜事活动逐渐从政治隐喻转向文人娱乐。唐代出现了大量咏物诗谜，如李峤的《风》，全诗不见“风”字却句句状风之态，诗与谜的界限开始模糊。至宋代，随着城市商业的繁荣和市民文化的兴起，猜谜活动与元宵灯市相结合，发生了关键性的形式飞跃。据《武林旧事》记载，当时杭州的灯市上，已有将谜语书写于绢灯之上，供游人猜射取乐的风尚，“灯谜”之名与形制由此真正诞生，并从文人的书斋走向了广阔的公共空间。

明清两代是灯谜艺术的鼎盛期，尤其是清代，甚至有“唐诗、宋词、元曲、明小说、清灯谜”的说法。这一时期，谜社林立，专著频出，灯谜的创作规则（如谜格）日趋严谨和完善，题材包罗万象。文学巨著《红楼梦》第二十二回“制灯谜贾政悲谶语”中，曹雪芹巧妙地通过人物所制灯谜（如元春的爆竹、探春的风筝）来暗示其命运归宿，将灯谜的文学叙事与隐喻功能发挥到了极致，体现了灯谜深度融入主流文化的态势。

===== 二、结构精粹与创作法门 =====

一则标准的灯谜由三个部分构成：谜面（题目，需成文）、谜目（规定答案范围，如“打一字”、“打一成语”）和谜底（答案）。其创作与猜射的奥秘，全然在于利用汉字特有的属性，在谜面与谜底之间构建非直接、多曲折的“别解”关联。主要创作法门可分为以下几类：

字形法：着眼于汉字的结构。如“拆字法”（又称离合法）：将谜面提示的字分拆后重新组合。例如谜面“半部春秋”，打一字。解谜思路是取“春”字的上半部“”与“秋”字的左半部“禾”，合为“秦”字。另有“增补法”与“减损法”，分别在原字上增加或减少部件构成新字，如“有口难言”打一字为“亚”（亚加“口”成“哑”），“他去也，怎把心儿放”打一字为“作”（“怎”去“心”为“乍”）。

字义法：着眼于汉字的意义。最常见的是“会意法”，即从谜面文字的整体或局部含义去推导谜底。例如“元宵节后”打一字为“完”（“元”消“节”后）。更高级的是“别解法”，故意偏离词汇的常用义，取其歧义形成妙趣。如“头悬梁，锥刺股”打一学习行为“自考”，此处“考”别解为“拷打”。

谐音法：利用汉字同音或近音的条件进行转换。如“临终望儿归”打一动物“狮子”，取“狮”与“思”的谐音，意为“思子”。

灯谜创作讲究“谜面要成文，底面不相犯（谜面与谜底不得有相同字），扣合须严谨”。一则佳谜贵在“曲”而不“直”，谜味醇厚，给人以恍然大悟的审美愉悦。

===== 三、文化功能与社会意蕴 =====

灯谜在传统社会中扮演着多重角色。首先，它是文化整合的桥梁。灯谜的创作需涉猎经史子集、诗词典故，具有浓厚的文人气质；而其猜射活动在喧闹的元宵灯市举行，又极具平民性和娱乐性。这种特性使其天然地沟联了士大夫的雅文化与市民的俗文化。

其次，它是寓教于乐的载体。猜射灯谜的过程，是学习汉字构造、温习历史知识、掌握成语典故的绝佳途径。例如谜面“刘邦闻之喜，刘备闻之哭”打一字“翠”（“羽卒”，项羽死则刘邦喜，关羽死则刘备哭），将历史知识巧妙融于一字之中。

再次，它是社会交往的媒介。元宵之夜，男女老少聚于灯下，或冥思苦想，或相互切磋，谜棚前洋溢着浓厚的社群互动氛围。清代的谜社组织，更将这种交流常态化、圈子化，使之成为一种高雅的智力社交。

进入现代社会，灯谜的生存语境发生巨变。其作为非物质文化遗产受到保护，通过校园社团、社区活动、电视竞赛等形式得以延续。同时，灯谜也在积极寻求创造性转化：题材上，网络用语、科技名词、时政热点皆可入谜；形式上，出现了视频谜、网络互动谜、谜语公众号等新形态；传播上，突破了地域与节庆的限制，成为日常可及的智力娱乐。

一个著名的现代灯谜案例是主持人撒贝宁曾在央视节目中出的谜面：“半分传奇半春秋”，打一主持人名。谜底是“何炅”。此谜运用会意别解，“半分传奇”字面意思即为“将传奇二字对半分”（何），“半春秋”同样“将春秋二字对半分”（炅），巧妙地将人名融入灯谜，引发了大众的热议与解谜热情，展现了传统灯谜形式诠释当代人物时的灵动与趣味。

然而，灯谜也面临挑战：一方面，其深度依赖的传统文化语境在减弱；另一方面，快节奏的现代生活侵蚀了人们细细品味“谜味”的耐心。未来的传承，需要在坚守汉字游戏核心规则的前提下，在内容贴近时代、形式吸引青年、传播借助新媒体等方面持续探索，方能使这盏古老的智慧之灯，在当代继续熠熠生辉。

===== 结语 =====

灯谜，是摇曳于中国文化长河中的一盏奇巧明灯。它从古老的隐语智慧中萌芽，在节庆的烟火气中茁壮，最终凝结为一种独特的语言艺术。它不仅仅是一种游戏，更是汉字美学、思维智慧与社群情感的结晶。在全球化与数字化的浪潮中，守护并活化灯谜这份遗产，意味着守护一种充满机趣的思维方式，守护一份含蓄隽永的文化乡愁。其生命力，正源于对汉字无限可能性的探索，以及对联结人与人之间智力与情感纽带的不懈追求。

===参考文献===

1. 百度百科. 猜灯谜[EB/OL]. https://wapbaike.baidu.com/item/猜灯谜/1851428
2. 百度百科. 灯谜[EB/OL]. https://baike.baidu.com/item/灯谜/139296
3. 刘锡诚. 灯谜说略[J/OL]. 中国民俗学网, 2010. https://www.chinafolklore.org/web/?NewsID=6921
4. 张颖. 灯谜：写在彩灯上的“隐语”[N]. 文摘报, 2025-02-19(08). 亦载于中国作家网. https://www.chinawriter.com.cn/n1/2025/0212/c442005-40416902.html
5. 王磊. 二十四谜品[M]. 郑州：中州古籍出版社, 2019.
6. 灯谜写在彩灯上的“隐语”[EB/OL]. 中国作家网. https://www.chinawriter.com.cn/n1/2025/0212/c442005-40416902.html
7. 黄金山. “灯谜”创作法初探（随笔）[EB/OL]. 江山文学网, 2022. http://www.vsread.com/index.php/article/showread?id=958240&pn=1&pn2=1

===术语和表达===

Lantern riddles 文虎 / 灯虎

Conundrum 谜面

Answer to a riddle 谜底

Shouci 廋辞

Biejie 别解

The method of character dissection拆字法

===问题===

1. 灯谜与普通民间谜语（如物谜“麻屋子，红帐子，里面住个白胖子”）在文化属性、创作主体和表现形式上有何根本区别？

2.谐音法在灯谜创作中如何具体运用？请以“临终望儿归”（谜底：狮子）为例，解析其谐音转换与意义关联的过程。

4. 在互联网时代，灯谜面临着哪些具体的传承危机？又可以通过哪些创新途径（如形式、内容、传播）吸引年轻一代？

5.试比较中国南北两地（例如，以苏州为代表的江南和以潮汕为代表的岭南）灯谜在题材选取、语言风格或社群活动形式上的可能差异，并探讨其背后的地域文化成因。

User:Liao Ruting

2026-02-02T13:44:27Z

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My name is Liaoruting, I am from Guigang, Guangxi. I studied Korean language at Yanbian University for my undergraduate degree. Currently, I am a graduate student specializing in Korean translation at Hunan Normal University. I have a solid grasp of language theories and translation practices, and I am willing to contribute professional strength to the cultural exchanges between the two countries.

==Final Exam Paper==

===Zhuang People's San Yue San (Third Day of the Third Lunar Month)===

====Introduction====

The Shangsi Festival is one of China's ancient festivals. Commonly known as "San Yue San" (Third Day of the Third Lunar Month), it was historically called the Shangsi Festival and also known as the Spring Bathing Day. After the Wei and Jin Dynasties, the Shangsi Festival was changed to the third day of the third lunar month; later generations followed this custom, and it became a festival for feasting by the water and spring outings in the suburbs. After the Song Dynasty, the festival gradually vanished, but in regions like Guangxi, the tradition of celebrating "San Yue San" is still preserved today. Nowadays, "San Yue San" is a traditional festival of the Zhuang people and is listed in the National List of Intangible Cultural Heritage. In Guangxi, the Zhuang people affectionately call it the "Song Festival" or "Song Fair Festival" (Gexu Festival). On this day, the Zhuang people worship their ancestors, sing and dance, and look for their destined partners. "San Yue San" is not only a grand banquet in spring but also a brilliant blooming of Zhuang culture.

====The Origin of the Festival: Animism and the Praise of Life====

The embryonic form of the Zhuang people's San Yue San can be traced back to the Han people's Shangsi Festival, anciently called "Spring Bathing Day" or "Fuxi Festival" (Purification Festival). It was first recorded in the Rites of Zhou and was an ancient festival in the Central Plains for sacrificial purification and riverside banquets. After the Wei and Jin Dynasties, it was gradually fixed on the third day of the third lunar month, featuring customs like "Qu Shui Liu Shang" (floating wine cups along a winding stream) and "Ta Qing You Chun" (spring outings). After the Song Dynasty, the Shangsi Festival in the Central Plains gradually declined, though customs of dispelling disasters and warding off evil on the third day of the third month remained in various parts of China during the Republic of China era. Thereafter, the three festivals of "Cold Food," "Qingming," and "Shangsi" showed a tendency to merge, eventually resulting in "Shangsi" and "Cold Food" being incorporated into "Qingming." Today, the Shangsi Festival is little known in most parts of China, but for some ethnic minorities in Southwest China, it remains a solemn and grand festival.
This festival custom spread to the Lingnan region with the migration of ethnic groups and merged deeply with the indigenous culture of the Zhuang people. The core cultural essence of the Zhuang San Yue San stems from the ethnic group's worship of Buluotuo (the creation ancestor) and Muluoja (the mother goddess). According to the Zhuang ancient text Buluotuo Scriptures, the third day of the third month is the birthday of Buluotuo. On this day, the Zhuang ancestors would worship the first ancestor, praying for favorable weather and the proliferation of the tribe. This belief transformed San Yue San from a simple seasonal folk custom into a cultural festival carrying the historical memory of the ethnic group. It can be said that the devout beliefs of the ancestors constructed a rich and profound cultural connotation and spiritual background for the formation and inheritance of San Yue San.

====The Core of the Festival: Conveying Feelings through Song====

The Song Fair Festival (Gexu Festival): "Ge" refers to folk songs (mountain songs), and "Xu" refers to a market. People singing folk songs in antiphonal style at the market is the soul that makes this festival vivid and alive.
Regarding the origin of the Song Fair, there are many interesting legends among the folk, among which the story of Liu Sanjie is widely circulated. Liu Sanjie, revered as the "Song God" or "Song Fairy," often used folk songs to praise labor and love while profoundly exposing the crimes of the rich landlords. On the third day of the third lunar month one year, while Liu Sanjie was cutting firewood on the mountain, a landlord sent men to cut the mountain vines, causing her to fall from the cliff to her death. To commemorate this Song Fairy, later generations gathered to sing on this day, and thus the Song Fair was formed.
In local chronicles of the Ming and Qing Dynasties (such as the Guangxi General Chronicle), it is recorded that in the Zhuang areas of Guangxi, "On the third day of the third month, men and women gather to sing for pleasure." By this time, San Yue San had become a "Song Fair Festival" for conveying emotions and narrating events through song. After the Republic of China era, this custom continued to be passed down in Zhuang-inhabited areas. In 1984, Guangxi officially designated San Yue San as a traditional festival for the Zhuang people, and in 2014, its folk activities were included in the National List of Intangible Cultural Heritage.
In the past, young Zhuang men and women often used the Song Fair on San Yue San as a social occasion to meet the opposite sex. Impromptu folk songs served as the bond and bridge for them to meet, inquire, praise, and pledge their love. In addition, the content of the antiphonal songs was not limited to love songs but also covered current politics, life, and other aspects. The content was all-encompassing: historical legends, life wisdom, and production knowledge; these contents tested the knowledge reserves and reaction capabilities of the singers. Nowadays, Song Fairs in areas like Wuming and Jingxi in Guangxi still retain the folk tradition of singing across mountains.

====The Colors of the Festival: Delicacies on the Tongue, Brocade at the Fingertips====

San Yue San features rhythmic and lively songs, as well as its own unique and distinct material cultural symbols.
1.Five-colored Glutinous Rice: This is the traditional festive food of San Yue San. People use plants like maple leaves, red-blue grass, and yellow ginger to dye glutinous rice into five colors: black, yellow, red, purple, and white. Glutinous rice soaked in plant juices and steamed in this way is not only brightly colored and fragrant but also highly appetizing. The Zhuang people believe that five-colored glutinous rice symbolizes happiness, beauty, harmony, auspiciousness, and good luck, embodying people's simple pursuit of a happy life and abundant harvests. In addition, people use five-colored glutinous rice to entertain distinguished guests or as one of the offerings for ancestor worship.
2.Painted Eggs: People dye boiled chicken or duck eggs into bright red or purple. Children play a game called "Egg Knocking" (Peng Caidan); the winner is the one whose eggshell remains unbroken after the collision. People regard this as a beautiful symbol of peace and good luck.
3.Embroidered Balls (Xiuqiu): Beautiful Zhuang brocade is woven into exquisite embroidered balls; soft embroidered balls create destined matches. The embroidered ball is a token of love and a mascot for the Zhuang people. During San Yue San, girls throw their carefully made embroidered balls. If their beloved catches it steadily, a beautiful relationship begins. Amidst historical changes, the past activity of throwing embroidered balls for betrothal has evolved into an interesting sports activity within Guangxi today.

====The Activities of the Festival: Rich Activities, Dynamic Inheritance====

During the San Yue San festival, besides antiphonal singing and throwing embroidered balls, there are other lively and interesting folk activities.
1.Snatching Firecrackers (Qiang Huapao): This is one of the important traditional festival activities of the Zhuang people. In the activity, people place a firecracker ring (Huapao) containing colorful confetti and small gifts. When the cannon sounds, people compete to snatch it. The person who snatches it receives rewards and blessings from the crowd.
2.Beating the Shoulder Pole / Bamboo Pole Dance: This is a traditional dance of the Zhuang people. The crowd holds shoulder poles and strikes them against each other, or opens and closes bamboo poles. Dancers jump and weave through the rhythm. The scene is extremely lively, and the atmosphere is cheerful and enthusiastic.
3.Displaying Zhuang Costumes: Zhuang women wear their most gorgeous and exquisite traditional Zhuang costumes on this day, wearing shining silver ornaments on their heads, proudly displaying exquisite Zhuang brocade and excellent craftsmanship.

====The Evolution of the Festival: From a Single Ethnic Celebration to a Regional Shared Gala====

With the passage of time, the "San Yue San" festival has undergone many changes that conform to the trends of the times.
1.Statutory Holiday: Since 2014, Guangxi has designated "Zhuang San Yue San" as a public holiday for the entire region, usually arranging a two-day compensatory leave, allowing people to devote themselves wholeheartedly to this grand festival.
2.Diversification of Content: Festival activities have expanded from traditional rural Song Fairs to city squares, scenic spots, and campuses. The content of activities has also been greatly enriched, forming a comprehensive cultural gathering integrating ethnic song and dance performances, intangible cultural heritage displays, sports competitions, food markets, and tourism promotion.
3.Sharing and Fusion: Today's "San Yue San" is not a festival exclusive to the Zhuang people, but a festive occasion celebrated jointly by the Han, Yao, Miao, Dong, and other ethnic groups in Guangxi.

====Conclusion====

In short, the Zhuang "San Yue San" is a festival rich in connotation and full of vitality. It is like a folk song that can never be finished; within the ancient main melody, new notes of the era are constantly integrated, radiating vigorous vitality year after year on the land of Guangxi.

===References===

[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.

[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.

[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.

[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.

[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.

[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.

[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.

===Terminology===

1.Fuxi (Purification Rituals)

2.Sacrifice / Worship

3.Glutinous Rice

4.Embroidered Ball (Xiuqiu)

5.Firecracker (Huapao)

===Questions===

1.Why has Guangxi's "San Yue San" become a National Intangible Cultural Heritage?

2.Why do people make Five-colored Glutinous Rice during the "San Yue San" festival?

3.What does "Song Fair" (Ge Xu) mean?

4.What interesting activities are there during "San Yue San"?

5.What are the differences between the current "San Yue San" and the past?

===Answers===

1.Because the "San Yue San" festival includes unique Zhuang traditions such as antiphonal singing, making five-colored glutinous rice, and throwing embroidered balls. These customs have been passed down for hundreds of years, reflecting the life wisdom and ethnic cultural characteristics of the Zhuang people. In order to protect these precious traditional cultures, the state listed them in the Intangible Cultural Heritage directory.

2.Five-colored glutinous rice is not only beautiful and delicious but also holds beautiful meanings. The five colors symbolize happiness, beauty, harmony, auspiciousness, and good luck respectively. By making and sharing five-colored glutinous rice, the Zhuang people express their expectations for a harvest and their yearning for a better life. At the same time, it is also an important food for worshipping ancestors and entertaining guests.

3."Song Fair" (Ge Xu) means "Market for Singing." "Xu" means market in the local dialect. On the day of "San Yue San," people gather together to sing folk songs in antiphonal style, so it is called a "Song Fair."

4.Besides antiphonal singing, there are:
① Egg Knocking: Children knock dyed eggs against each other to see whose egg doesn't break.
② Snatching Firecrackers: Like a sports competition, everyone competes for the firecracker ring; the person who snatches it gets good luck.
③ Bamboo Pole Dance: Dancing within the rhythm of opening and closing bamboo poles, which tests reaction ability.
④ Wearing Ethnic Clothing: Many people put on beautiful traditional Zhuang costumes.

5.① Time off: Since 2014, the whole region of Guangxi has had a holiday during "San Yue San," allowing more people to participate in the celebration.
② More locations: Expanded from original mountain villages and fields to city squares, schools, and scenic spots.
③ More participants: It is not only celebrated by Zhuang people; friends from other ethnic groups also participate, turning it into a festival shared by everyone.

==期末论文==

===壮族三月三===

====引言====

上巳节，为中华古老节日之一。俗称三月三，古称上巳节，又叫三月三、春浴日。魏晋以后，上巳节改为三月三，后代沿袭，遂成水边饮宴、郊外游春的节日。到了宋代以后，该节日逐渐销声匿迹，但在我国广西等地区，至今仍然保留着过“三月三”的传统。现如今“三月三”是壮族人民的传统节日，更是国家级非物质文化遗产名录之一。在广西，壮族人民亲切地称呼其为“歌节”或者是“歌圩节”。每到这一天，壮族人民都会祭祀祖先，载歌载舞，并寻找属于自己的命定伴侣。“三月三”不仅是春日里的一场盛大宴会，更是壮乡文化之花的灿烂绽放。

====节日的起源: 万物有灵，礼赞生命====

壮族三月三的雏形可追溯至汉族的上巳节，古称“春浴日”“祓禊节”，最早载于《周礼》，是中原地区祭祀祓禊、水边宴饮的古老节日，魏晋后逐渐固定在三月初三，有“曲水流觞”“踏青游春”等习俗。宋代后中原上巳节逐渐式微，而到民国时期，中国各地还留有三月三消灾除凶的风俗。此后，“寒食”“清明”“上巳”三节呈现合并趋向，最终“上巳”“寒食”两节并入“清明”。如今，在中国大部分地区上巳节已经鲜为人知，但对于中国西南地区的一些少数民族的人们来说上巳节仍是一个隆重而盛大的节日。
这一节日习俗随民族迁徙传入岭南，与壮族本土文化深度融合。壮族三月三的核心文化内核，源于本民族对布洛陀（创世始祖）和姆洛甲（母神）的崇拜。据壮族古籍《布洛陀经诗》记载，三月三是布洛陀诞辰之日，壮族先民会在这一天祭祀始祖，祈求风调雨顺、族群繁衍，这一信仰使三月三从单纯的节气民俗，演变为承载民族历史记忆的文化节日。可以说先民们的忠诚信仰为三月三的形成与传承构筑了丰富深厚的文化内涵与精神底色。

====节日的核心: 以歌为媒，传送心意====

歌圩节，其中歌指的是山歌，而圩指的是集市。人们在集市上山歌对唱，便是让这节日生动鲜活起来的灵魂。
关于歌圩的来历,在民间有许多有趣的传说，而其中关于刘三姐的故事流传甚广。被奉为“歌神”或“歌仙”的刘三姐经常用山歌颂劳动和爱情，同时也深刻揭露财主们的罪恶。有一年的农历三月初三，刘三姐在山上砍柴时，财主派人砍断了山藤,造成她坠崖身亡。后人为了纪念这位歌仙,便在这天聚会唱歌，歌圩就此形成。
而在明清时期的地方志（如《广西通志》）中记载，广西壮族地区“三月初三，男女聚会，歌唱为乐”，此时三月三已成为以歌传情、以歌叙事的“歌圩节”。民国后，这一习俗在壮族聚居区持续传承，1984年广西正式将三月三定为壮族传统节日，2014年其民俗活动列入国家级非物质文化遗产名录。
在过去，壮族的青年男女们常常将三月三那一天的歌圩作为认识异性的社交场合，即兴编唱的山歌是他们相识、探问、赞美、定情的纽带和桥梁。此外，对唱的山歌内容不仅仅局限于情歌，还有关于时政、生活等各方面的。其内容包罗万象：历史传说，生活智慧、生产知识，这些内容无一不考验着对唱者的知识储备和反应能力。现如今，广西武鸣、靖西等一带的歌圩，仍旧保留着隔山对唱的民俗传统。

====节日的色彩：舌尖美味，指尖锦绣====

三月三有节奏灵动的歌曲，也有属于自己的独特鲜明的物质文化符号。
1.五色糯米饭：这是三月三的传统节庆食物，人们会用枫叶、红蓝草、黄姜等植物将糯米饭染成黑、黄、红、紫、白五种颜色，这样用植物汁液浸泡和蒸熟的糯米饭不仅色泽艳丽，清香扑鼻，还会让人食指大动。‘壮族人民认为五色糯米饭象征着幸福、美好、和谐、吉祥、如意，包含着人们对于幸福生活和五谷丰登的朴实追求。此外，人们还会用五色糯米饭用来招待尊贵的客人、或者用其作为祭扫先祖的供品之一。
2.彩蛋：人们会将煮熟的鸡鸭蛋染成鲜亮的红色或是紫色，小孩子们会玩一种叫做“碰彩蛋”的游戏，相碰情况下蛋壳完整不破者为胜者，人们将其视作平安好运的美好象征。
3.绣球：秀丽的壮锦编织成精致的绣球，柔软的绣球成就一段段天定良缘。绣球是壮族的定情信物和吉祥物。在三月三期间，女孩子们会抛出自己精心制作的绣球，若意中人稳稳接住，一段美好的缘分将就此开启。而在历史的不断变迁中，以往的抛绣球定亲活动演变为了如今广西区内一项有趣的体育活动。

====节日的活动：丰富活动，动态传承====

在三月三节日期间，除了山歌对唱，抛绣球，还有一些热闹有趣的民俗活动。
1.抢花炮：这是壮族重要的传统节日活动之一。活动中，人们会放置装有五彩纸屑和小礼物的花炮，当炮声响起，人们会争相抢夺，抢到的人能获得奖励和众人的祝福。
2.打扁担/竹竿舞：这是壮族的传统舞蹈。众人手持扁担互相敲击，或者分合竹竿，伴随着节奏跳跃穿梭，长眠热闹非凡，气氛欢快热烈。
3.展示壮族服饰：壮族的女性们会在这一天穿上最为华丽精美的壮族传统服饰，头戴闪亮的银饰，骄傲地展示着精致的壮锦和优秀的制作工艺。

====节日的演变：从单一民族节庆到区域共享盛典 ====

随着时间的变化，“三月三”节日发生了诸多顺应时代潮流的转变。
1. 法定假日：2014年起，广西将“壮族三月三”设为全区公众假日，并通常安排为期两天的调休，人们因此能全身心地投入到这场盛大的节日中。
2. 内容多元化：节日活动从传统的乡村歌圩，大规模扩展到城市广场、景区、校园。活动内容也极大丰富，形成了集民族歌舞汇演、非遗展示、体育竞赛、美食集市、旅游推广于一体的综合性文化盛会。
3. 共享与融合：如今的“三月三”不是独属于壮族的节日，更是广西汉、瑶、苗、侗等各个民族共同庆祝的佳节。

====结语====

总之，壮族“三月三”是一个内涵丰富、充满活力的节日。它就像一首永远唱不完的山歌，古老的主旋律中，不断融入新时代的音符，在八桂大地上，年年岁岁，焕发着蓬勃的生命力。

===参考文献===

[1]黄秋红.基于教育视角的壮族歌圩文化家庭传承研究[D].云南师范大学,2021.DOI:10.27459/d.cnki.gynfc.2021.000241.

[2]闫雪梅. 广西少数民族地区植物染研学旅行课程设计与开发[J].歌海,2021,(03):80-84.

[3]李雨濛.布依族“三月三”音乐文化传承研究[D].贵州师范大学,2020.DOI:10.27048/d.cnki.ggzsu.2020.000504.

[4]张萍,王溯,杨海晨. 少数民族民间体育节事的发展——以广西马山县壮族会鼓文化节为例[J].社会科学家,2018,(11):156-160.

[5]王曼.中国传统节日与祖先崇拜论析[D].中南民族大学,2018.

[6]阮茉莉. 广西民族传统节日文化传承与发展研究——以“壮族三月三”为例[J].广西教育,2017,(11):44-45.

[7]吴建飞. 龙胜“三月三”民俗文化的考察研究[J].视听,2015,(12):36-37.

===术语===

1.祓禊

2.祭祀

3.糯米饭

4.绣球

5.花炮

===问题===

1.为什么广西的“三月三”能成为国家级非物质文化遗产？

2.在“三月三”节日里，人们为什么要做五色糯米饭？

3.“歌圩”是什么意思？

4.“三月三”有哪些有趣的活动？

5.现在的“三月三”和过去的有什么不同？

===答案===

1.因为“三月三”节日包含了壮族独特的山歌对唱、五色糯米饭制作、抛绣球等传统习俗，这些习俗传承了几百年，体现了壮族人民的生活智慧和民族文化特色。国家为了保护这些宝贵的传统文化，所以将其列入非物质文化遗产名录。

2.五色糯米饭不仅好看好吃，还有美好寓意。五种颜色分别象征着幸福、美好、和谐、吉祥和如意。壮族人民通过制作和分享五色糯米饭，表达对丰收的期盼和对美好生活的向往。同时，它也是祭祀祖先和招待客人的重要食物。

3.“歌圩”就是“唱歌的集市”。“圩”在当地方言里就是集市的意思。在“三月三”这天，人们聚在一起对唱山歌，所以叫“歌圩”。

4.除了对唱山歌外，还有：
① 碰彩蛋：小朋友把染色的鸡蛋互相碰撞，看谁的鸡蛋不破

②抢花炮：像体育比赛一样，大家争夺花炮，抢到的人有好运

③跳竹竿舞：在竹竿分合的节奏中跳舞，很考验反应能力

④穿民族服装：很多人会穿上漂亮的壮族传统服装

5.①放假了：2014年开始，广西全区在“三月三”期间放假，让更多人能参与庆祝。

②地点多了：从原来的山村田野，扩展到了城市广场、学校、景区。

③参与人多了：不仅是壮族人民庆祝，其他民族的朋友也一起参加，变成了大家共同的节日。

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*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
Fall Semester 2024
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8, Lehrmaterial wird vom Lehrer gestellt, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 31.10.
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 , Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习, 周2,4,6,8,10,12,14,16 (跟范妮老师), Lehrbuch: 《当代大学德语听说训练》audio, paper, 1 13.9., 2 27.9., 3 25.10., 4 8.11., 5 22.11., 6 6.12., 7 20.12.
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）, Lehrbuch: 《德语初级听力》pdf and audio, 1 6.9., 2 13.9., 3 20.9., 4 27.9., 5 11.10., 6 18.10., 7 25.10., 8 1.11., 9 8.11., 10 15.11., 11 22.11., 12 29.11., 13 6.12., 14 13.12., 15 20.12., 16 27.12.
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题（智慧树网络课程）人文社会科学类全校 3 2 32 课时 2-12 0

Summer Semester 2024
*THU (8:00-9:30 s. 413) 9:45-11:15 s. 413 SIN II s. 413 MGR 文章写作 Praktyczna nauka języka chińskiego – '''kompozycja tekstu''' [[Text Comp 2024]] Sess1 Feb 29 8-9:30, Sess2 Feb 29 9:45-11:15, Sess3 Mar 21, 8:00-9:30, Sess4 Mar 21, 9:45-11:15, Sess5 Apr 4, 8:00-9:30, Sess6 Apr 4, 9:45-11:15, Sess7 Apr 11, 8:00-9:30, Sess8 Apr 11, 9:45-11:15, Sess9 Apr 18 8:00-9:30, Sess10 Apr 18, 9:45-11:15, Sess11 Apr 25 8:00-9:30, Sess 12 Apr 25, 9:45-11:15, Sess13 June 13 8:00-9:30, Sess14 June 13, 9:45-11:15, Sess15 MON Jun 17, 8:00-9:30, Sess16 MON Jun 17, 9:45-11:15, FinEx Jun 20, 8:00-9:30
*THU 11:30-13:00 s. 401 (13:15 14:45 s. 413) SIN I MGR 中國文化 '''Kultura chińska''' [[Chin Cult 2024]] Sess1 Feb 29 11:30-13:00, Sess2 Feb 29 13:15-14:45, Sess3 Mar 21, 11:30-13:00, Sess4 Mar 21, 13:15-14:45, Sess5 Apr 4, 11:30-13:00, Sess6 Apr 4, 13:15-14:45, Sess7 Apr 11, 11:30-13:00, Sess8 Apr 11, 13:15-14:45, Sess9 Apr 18 11:30, Sess10 13:15-14:45, Sess11 Apr 25 11:30-13:00, Sess 12 Apr 25, 13:15-14:45, Sess13 June 13 11:30-13:00, Sess14 June 13, 13:15-14:45, Sess15 MON Jun 17, 11:30-13:00, Sess16 MON Jun 17, 13:15-14:45, FinEx Jun 20, 11:30-13:00
*FRI (8:00-9:30 s. 400) 9:45-11:15 SIN III s. 424 中國文學-詩歌 Język chiński klasyczny – proza lub '''poezja''' [[Chin Poetry 2024]] s. 400/424 Sess1 Mar 1 8:00-9:30, Sess2 Mar 1 9:45-11:15, Sess3 Mar 22, 8:00-9:30, Sess4 Mar 22, 9:45-11:15, Sess5 Apr 5, 8:00-9:30, Sess6 Apr 5, 9:45-11:15, Sess7 Apr 12 8:00-9:30, Sess 8 Apr 12, 9:45-11:15, Sess9 Apr 19, 8:00-9:30, Sess10 Apr 19, 9:45-11:15, Sess11 Apr 26 8:00-9:30, Sess 12 Apr 26, 9:45-11:15, Sess13 June 14 8:00-9:30, Sess14 June 14, 9:45-11:15, Sess15 TUE Jun 18, 8:00-9:30, Sess16 TUE Jun 18, 9:45-11:15, FinEx Jun 21, 8:00-9:45

Co-taught courses in China
*WED 16:30-17:15 '''德语语法''' [[Germ Gramm 2024]] 30xBA2 22德 Wang Zhuochen (1-16,外国语学院大楼406教室09163042.011) S1 XS 28.2., S2 MW 6.3., S3 MW 13.3., S4 XS 20.3., S5 MW 27.3., S6 XS 3.4., S7 XS 10.4., S8 XS 17.4., S9 XS 24.4., S10 MW 8.5., S11 MW 15.5., S12 MW 22.5., S13 MW 29.5., S14 MW 5.6., S15 XS 12.6., Exam XS 19.6.
*THU 8:00-9:40 '''翻译理论与实践''' [[Trans TP 2024]] BA3 21德 Callie (单1-15.外国语学院大楼401教室 09163071.01) (S1 OD 29.2., S2 MW 14.3., S3 MW 28.3., S4 OD 11.4., S5 OD 25.4., S6 MW 9.5., S7 MW 23.5., S8 MW 6.6.)
*THU 8:00-9:40 '''德语语言学导论''' [[Germ Ling 2024]] BA3 21 Callie(双2-16.外国语学院大楼401教室 09163045.01) (S1 MW 7.3., S2 OD 21.3., S3 holiday 4.4., S4 OD 18.4., S5 OD 28.4. (make up for May 2), S6 MW 11.5., S7 MW 16.5., S8 MW 30.5., S9 OD 13.6.)
*FRI 8:00-9:40 '''中国文化概要''' [[Cult Ov 1 2024]] 603 BA2 22笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*FRI 10:00-11:40 '''中国文化概要''' [[Cult Ov 2 2024]] 404 BA2 22笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*Important conference dates: Changsha 29.3., 20.4., Poznan 20.-21.7.

*THU 9:45-11:15 MA2 sal. 401 (403 on additional dates: Nov 30 15:00-16:30, Dec 14 15:00-16:30) [[Practical Study of Chinese literature - text creation]] 文章写作 Praktyczna nauka jezyka chinskiego – kompozycja tekstu SIN m II 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*THU 11:30-13:00 MA1 sal. 401 [[Chinese Culture]] 中國文化 Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 8:00-9:30 BA3 sal. 424 (426 on additional dates: Dec 1, 8, 15 13:15-14:45) [[Classical Chinese Poetry and Prose]] 中國文學-散文 Jezyk chinski klasyczny SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 9:45-11:15 MA1 sal. 413 (424 on additional dates: Nov 30, Dec 7, Jan 18 8:00-9:30 413) [[Critical Review of Chinese Literature]] 中国文學反思 Krytyczny przeglad literatury chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
* September 2023 [[Literatur-Übersetzung Chinesisch-Deutsch]] MA, 汉德文学翻译，研究生（4人），32学时, Hunan Normal University, Changsha
* September 2023 [[Konversation Deutsch]] aktuelle Themen aus Gesellschaft und Kultur, BA, 德语口语，大二本科生（入门）（28人），16学时, Hunan Normal University, Changsha
* May-June [[Chinese Culture 2023]], Adam Mickiewicz University, Poznan
* Mon 18:30-21:10, Wed 19:00-21:40 [[Chinese Classics Translation Spring 2023]] 中華典籍外譯 MA, first session Tue 10-11:40 room 601
* Mon 8:00-9:40, Wed 13:00-14:40, Fri 13:00-14:40 602, first session Fri 8-9:40 604 中国文化概要 [[Introduction to Chinese Culture Spring 2023]] BA, (1-16,外国语学院大楼604机房 09161319.02)(1-16, Room 604, School of Foreign Languages Building 09161319.02)
* MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
* Friday 19:00-20:40 [[Chinese Language and Culture Fall 2022]] 87 MA students (starts Sep 30), fall term 2022, with Ole Döring, Cord Eberspächer
* Monday 14:30-16:10 [[Translation Theory ZH-DE 2022]] 29 BA students (starts Aug 29, weeks 1-16) 汉德翻译理论与实践 #腾讯会议：345-3281-9241, fall term 2022
* Monday 14:30-16:10 [[Foundations of Chinese Cultures 2022]] 29 BA students 中国文化基础(09166202.01) (starts Feb 21, weeks 1-16, 外国语学院大楼605机房) 20级翻译01班 jwglnew.hunnu.edu.cn, spring term 2022
* Friday 14:30-16:10 [[Chinese Classics Translation 2022]] 47+ MA students together with Prof. Cord Eberspaecher, class of 2020 Translation & Interpreting Major, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Friday 16:30-18:10 [[Chinese Language and Culture 2022]] 76+ MA students together with Prof. Cord Eberspaecher , class of 2020 Translation & Interpreting, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Wednesday 14:30-16:10 '''[[Introduction to Translation Studies 2021]]''' for MA students of 2021, fall term 2021, Hunan Normal University
* Wednesday 14:30-16:10 '''[[Foundations of Chinese Cultures 2021]]''' for BA students of 2019, spring term 2021, Hunan Normal University
* Corona - Scientific Methods and Ability of Dialogue, winter term 2021, Witten/Herdecke University
* Thursday 11:00-13:30 '''[[Childhood in China - Past and Present]]''' session in the seminar by Prof. David Martin '''Childhood and Development''', Jan 21, 2021, Witten/Herdecke University
* Monday 14:30-16:10 '''[[Chinese Languages and Cultures]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 16:30-18:10 '''[[Introduction to Translation Studies]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 19:00-20:40 '''[[German Phonetics]]''' for BA students of 2020, fall term 2020, Hunan Normal University, Tuesday 14:30-16:10 (8:30-10:30), Wednesday 16:30-18:10 (10:30-12:10 Uhr), Thursday 19:00-20:40 (13:00-14:40 Uhr), Friday 14:30-16:10 (8:30-10:10 Uhr)
* [[Basics of Chinese Culture]], summer term 2020, Hunan Normal University
* [[Cross Media Storytelling]], summer term 2020, Witten/Herdecke University
* [[Holism as a Concept]], summer term 2020, Witten/Herdecke University
* Introduction to Traditional Chinese Culture, winter term 2019/2020, Hunan Normal University
* Introduction to Translation Studies, winter term 2019/2020, Hunan Normal University
* Total Digitization – where is the place for humans?, winter term 2019/2020 Witten/Herdecke University
* How Social is Social Media?, winter term 2019/2020 Witten/Herdecke University
* Regional Digital Cultures - Disruptions (USA), Technology-Skip (Africa), Privacy Discussions (Europe), AI-Controlled Society (China) , winter term 2019/2020 Witten/Herdecke University
* [[Networks, Protocols, Authority]] Netzwerke - Protokolle - Macht - summer term 2019 Leuphana University Lueneburg, with Martin Warnke
* [[Propaganda_-_Die_Rhetorik]] (Propaganda - Rhetorics) Propaganda - Die Rhetorik - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/y6npurbn
* [[Meisterwerke_chinesischer_Dichtkunst]] (Master Pieces of Chinese Poetry) Meisterwerke chinesischer Dichtkunst - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/yymdbm39
* [[Crosscultural Comparison of Literary Works]] Literaturwerke verschiedener Kulturen im Direktvergleich - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/Fj4yeU
* [[Digitalization models in China, the US and Europe|Digitization models in China, the US and Europe]] - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/ZnbY6V
* [[China - Alternative to Western Societies?]] China – techno-autoritäre Alternative zur freiheitlich-westlichen Demokratie? - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/8fxyU7
* [[Ride through World Literature]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[New (old) world power China. Today's foreign policy and political philosophical origins]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[International Sinology]] - spring term 2018 (Beijing Normal University/China)
* [[Introduction to Foreign Literature 2018]] - spring term 2018 (Beijing Normal University/China)
* [[Myth of Immortality / Mythos Unsterblichkeit]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Motifs of World Literature / Motive der Weltliteratur]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Research on the Overseas Distribution of Chinese Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Selected Research Topics in Comparative Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Internet in China]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Education in Dictatorships]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Early Western Translations of the Dream of the Red Chamber]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Introduction to Foreign Literature]] - spring term 2017 (Beijing Normal University/China)
* [[Mass communication in the Age of New Media]] - winter term 2016 (Witten/Herdecke University/Germany)
* [[First encounters between distant cultures]] - and the earliest translations of literature, focusing on China (from the German/European perspective) - winter term 2016 (Witten/Herdecke University/Germany)
* [[Dissemination of Chinese Literature abroad]] - fall term 2016 (Beijing Normal University/China)
* [[Translated Literature]] - fall term 2016 (Beijing Normal University/China)
* [[Communication 4.0]] - New experimental communication apps (in China, the US and Europe) - summer term 2016 (Witten/Herdecke University/Germany)
* [[Internationale Softpower - mit einem Fokus auf China]] - summer term 2016 (Witten/Herdecke University/Germany)
* [[Modern Chinese Literature]] - Students' contributions - (Peking Normal University/China)
* [[Resolving Conflicts, Finding Compromises, Understanding Each Other]] -- summer term 2015 (Witten/Herdecke University/Germany)
* Early reception and translations of the Dream of the Red Chamber -- summer term 2015 (Nanking Normal University/China)
* [[EU-China Multi-level Comparison]] -- winter term 2014/2015 (Università Roma Tre/Italy)
* [[The Other]] -- winter term 2014/2015 (Witten/Herdecke University/Germany)
* [[Cultural memory and the Cultural Revolution]] -- summer term 2014 (Witten/Herdecke Universit/Germany)
* [[Communicating better]] -- summer term 2014 (Witten/Herdecke University/Germany)
* [[China and us]] -- winter term 2013/2014 (Witten/Herdecke University/Germany)
* [[Reading Course]] -- winter term 2013/2014 (Ruhr University Bochum/Germany)
* [[German as a Foreign Language B2]].2 for Chinese Students (Ruhr University Bochum/Germany)
* [[Comparing Cultures]] -- Students' contributions (Witten/Herdecke University/Germany) - co-taught Dr. M. Kettner / Dr. M. Woesler
* [[Traditional Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the earliest times through the Ming Dynasty.
* [[Modern Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the Qing Dynasty to today.
* [[Classical Chinese Literature]] -- Students' contributions (Utah Valley University/USA) - The history of Chinese Literature from the earliest times through the Ming Dynasty.
* [[Modern Chinese Literature]] - Students' contributions - (Utah Valley University/USA)
* [[Introduction to Chinese Studies]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Philosophy]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Culture and Film]] -- Students' contributions (Utah Valley University/USA) - Chinese Films- from the earliest days of movies in China to now and their changing representations of Modern Chinese Culture.
* [[Success in the China Related Job Market]] -- (Utah Valley University/USA) Timeline and Students' contributions

=Institutions and Chinese Studies Conferences=
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London (150 participants, 100 presentations online), [http://china-studies/wacs/WACS4PROGRAM.pdf program]
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, H. v. Senger, You Tianwei, Zhou Wenye organizers: WACS, GCA etc.
* 100th Anniversary of May Fourth Movement, Cologne, Dusseldorf, Witten
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, organizers: WACS, GCA etc.
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies - Celebrating the 60th Anniversary of the German China Association] August 19-20, 2017 Witten/Germany, host: Witten/Herdecke University, convener: M. Woesler, organizers: WACS, GCA etc.
* [http://china-studies.com/hlm/ Celebrating Cao Xueqin's 300th Anniversary - 3rd Int'l Dream of the Red Chamber Conference Europe] M. Woesler for Folkwang University Essen and Cao Xueqin Society (Peking/China) 2016
* [[Chinas Way 2|China's Way II - European Forum 2015 on the Chinese Path - Achievements and their reasons, Problems and their solutions]] Chinese Studies Conference, September 27, 2015 (Berlin, Germany), GCA (G. Paul/M. Woesler), Luxemburg Foundation & CASS. German version: [[Chinas Weg 2|Chinas Weg II - Europäisches Forum 2015 zum chinesischen Entwicklungsweg - Erfolge und Gründe, Probleme und Lösungen]]
* [[Chinas Way 1|China's Way I - European Forum 2014 on the Chinese Path]] Chinese Studies Conference, October 20, 2014 (Berlin, Germany), GCA (G. Paul/M. Woesler) & CASS. German version: [[Chinas Weg 1|Chinas Weg I - Europäisches Forum 2014 zum chinesischen Entwicklungsweg]]
* [[China and Europe]] Chinese Studies Conference, March 27-28, 2014 (Italy, Rome), L. Moccia/M. Woesler
* [[Creation and Consumption of Cultural Commodities]] December 13-16, 2013 (Wuhan, China), Wenqian G./S. Li et al. and M. Woesler/M. Kettner/M. Frühauf
* [[China and the Asia-Pacific]] 2nd UVU Chinese Studies Conference, March 7-8, 2013 (USA), M. Woesler
* [[China's Global Impact]] Inaugural UVU Chinese Studies Conference, March 23-25, 2012 (USA), M. Woesler

The indicated colleagues are the chairs and co-chairs of the Organizing Committees.

= Useful things =
* [[Speech scripts]]
* [[Free online tools to learn Chinese]] -- Students' contributions Fall 2011 - Chinese Language
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
<span style="color:red">'''.'''</span>

Chinese Language and Culture - 2025

2025-12-18T13:17:55Z

Root: /* 2025-10-16 (周四) - Completed */

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

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

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

=== 2025-10-23 (周四) - Completed ===

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

=== 2025-10-24 (周五) - Completed ===

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

=== 2025-10-30 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Cáo Wén || 曹文 || 202570081669 || 171. Science and Technology: Taobao（淘宝）[[Media: Science and Technology: Taobao. pptx]]
|-
| 2 || Chén Míngbō || 陈明菠 || 202570081672 || Education: training Schools
|-
| 3 || Dèng Xīnyǔ || 邓欣雨 || 202570081674 || 253. Yuelu mountain 岳麓山[[Media:Yuelu Mountain（岳麓山）.pptx]]
|-
| 4 || Dèng Xīn || 邓鑫 || 202570081675 || 196. Science and Technology: The culture of Chinese Electric Vehicles [[Media: Chinese Electric Vehicles.pptx]]
|-
| 5 || Fāng Xiān || 方鲜 || 202570081676 || 100. Money Culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) [[Media: Money Culture Currency, Jiaozi (A Paper Currency in Northern Song Dynasty).pptx]]
|-
| 6 || Fú Róng || 符蓉 || 202570081677 || 225. "Cun Chao": China's village football league（"村超"：中国乡村足球联赛）
|-
| 7 || Guō Yùróng || 郭玉熔 || 202570081679 || 14. Architecture: Fengshui in Chinese architecture [[Media:Fengshui_in_Architecture_2025.pptx]]
|-
| 8 || Hè Jìngtóng || 贺婧童 || 202570081680 || 13. Three Great Towers in China[[Media:Three Great Towers in China_2025.pptx]]
|-
| 9 || Hú Lěi || 胡磊 || 202570081681 || 193. Science and Technology: Buy together (PDD)[[Media:Science and Technology(PDD).pptx]]
|-
| 10 || Huáng Yáo || 黄瑶 || 202570081683 || Cheongsam
|-
| 11 || Martin Woesler || 吴漠汀 || xxx || Teacher presentation [[Media:02.pptx]]
|}

=== 2025-11-06 (周四) - 共 9 个演讲 ===

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

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

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

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Huáng Yīlín || 黄伊琳 || 202570081684 || Chinese incense culture
|-
| 2 || Jiǎng Kèyǔ || 蒋克雨 || 202570081686 || 221. Zhongyuan festival [[Media:Zhongyuan_Festival_2025.pptx]]
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture [[Media:Hui_culture_2025.pptx]]
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names [[Media:Chinese_Names_2025.pptx]]
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. The Photo Retouching Culture in China [[Media:The_Photo_Retouching_Culture_in_China_2025.pptx]]
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture [[Media:Round_Table_Culture_2025.pptx]]
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Chinese Paper-cutting [[Media:Chinese_Paper-cutting_2025.pptx]]
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

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

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

=== 2025-11-13 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Xiàng Xuěbīng || 向雪冰 || 202570081715 || TBD - Xiàng Xuěbīng
|-
| 2 || Xiào Sūqín || 肖苏秦 || 202570081716 || 197. Chinese tradition culture: The culture of Ronghua-Velvet Flowers 绒花[[Media:The culture of Ronghua-Velvet Flowers 2025.pptx]]
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen [[Media: Luosifen_2025.pptx]]
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）[[Media: Tofu meatball with pig blood_2025.pptx]]
|-
| 6 || Yáng Jīnyǔ || 杨金雨 || 202570081720 || 96. Medicine: TCM - The Development of Chinese Medicine
|-
| 7 || Yáng Jìngwèi || 杨婧蔚 || 202570081721 || 45. Facial Make-up: Face Changing in Sichuan Opera [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 2025-11-20 (周四) - 共 10 个演讲 ===

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

=== 2025-11-27 (周四) - 共 9 个演讲 ===

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

=== 2025-12-04 (周四) - 共 10 个演讲 ===

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

=== 2025-12-11 (周四) - 共 10 个演讲 ===

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

=== 2025-12-18 (周四) - 共 8 个演讲 ===

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

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

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

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

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

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

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

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

[[Media:02_Chin_Lang_Cult_2025.pptx]]

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

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

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

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

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

Was the presentation appropriate to the topic?

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

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

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

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

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

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

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

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

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

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

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

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

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

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

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

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

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

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

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

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[[Media:ChaBaiXi.pptx]]

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

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

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

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

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

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

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

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

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

Chinese Language and Culture - 2025

2025-12-18T06:21:43Z

Root: /* 2025-12-18 (周四) - 共 8 个演讲 */

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

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

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

=== 2025-10-23 (周四) - Completed ===

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

=== 2025-10-24 (周五) - Completed ===

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

=== 2025-10-30 (周四) - Completed ===

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

=== 2025-11-06 (周四) - 共 9 个演讲 ===

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

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

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

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

=== 2025-11-07 (周五) - 共 10 个演讲 ===

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

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

=== 2025-11-13 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Xiàng Xuěbīng || 向雪冰 || 202570081715 || TBD - Xiàng Xuěbīng
|-
| 2 || Xiào Sūqín || 肖苏秦 || 202570081716 || 197. Chinese tradition culture: The culture of Ronghua-Velvet Flowers 绒花[[Media:The culture of Ronghua-Velvet Flowers 2025.pptx]]
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen [[Media: Luosifen_2025.pptx]]
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）[[Media: Tofu meatball with pig blood_2025.pptx]]
|-
| 6 || Yáng Jīnyǔ || 杨金雨 || 202570081720 || 96. Medicine: TCM - The Development of Chinese Medicine
|-
| 7 || Yáng Jìngwèi || 杨婧蔚 || 202570081721 || 45. Facial Make-up: Face Changing in Sichuan Opera [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 2025-11-20 (周四) - 共 10 个演讲 ===

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

=== 2025-11-27 (周四) - 共 9 个演讲 ===

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

=== 2025-12-04 (周四) - 共 10 个演讲 ===

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

=== 2025-12-11 (周四) - 共 10 个演讲 ===

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

=== 2025-12-18 (周四) - 共 8 个演讲 ===

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

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

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

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

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

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

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

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

[[Media:02_Chin_Lang_Cult_2025.pptx]]

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

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

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

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

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

Was the presentation appropriate to the topic?

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

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

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

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

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

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

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

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

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

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

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

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

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

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

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

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

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

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

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

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

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

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

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

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

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

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

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

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

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

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

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

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

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

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

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

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

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[[Media:ChaBaiXi.pptx]]

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

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

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

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

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

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

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

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

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

User:Zhang Yue

2025-12-18T06:20:44Z

Root: Created page with "==期末论文== ===Junshan Yinzhen=== Junshan Island, which is situated 15 km offshore from the historical city of Yueyang, is home to many well-known Chinese folklore. Thes..."

==期末论文==
===Junshan Yinzhen===

Junshan Island, which is situated 15 km offshore from the historical city of Yueyang, is home to many well-known Chinese folklore. These tales are said to speak to the island’s rich history, which is believed to date back to mythical times. Tea has been associated with this tiny island since the Tang Dynasty, over 1300 years ago. During the Qing Dynasty (1616-1912), Junshan Yinzhen was given tribute tea status, with the royal court demanding 9kg of the tea each year. This tea is rare for a number of reasons. Firstly, it has a prestigious past. Secondly, it is very small. The island is only one square kilometre. Thirdly, it is still state-owned. Finally, only one person in the world knows how to make it. He holds the secret to a crucial step in the production process. He receives a special government stipend for his expertise. He is helped by over 30 people. Junshan Yinzhen is now one of the rarest teas in China.

This is a real modern tribute tea. Every year, the harvest is sent straight to government departments. It is usually reserved to treat visiting diplomats and important people. Junshan Yinzhen’s price is stable and very expensive, given its limited market circulation. Junshan Island is a tealeaf-harvesting hotspot, with many different types of tea being picked there. These include the original varieties, Yin Zhen, Bi Xiang Zao, Tao Yuan Da Ye, Fu Yun, and a green tea varietal. Junshan Yinzhen is a type of tea made from only the buds, which are picked in the early spring, typically starting in the first half of March.

Junshan Yinzhen is made by subjecting the leaves to high temperatures, which kill some of the enzymes. Then we bake the leaves to semi-dry before wrapping them airtight and fermenting them for 48 hours. The leaves are then baked for a second time after being wet once more, then fermented for about 24 hours before being baked dry over charcoal. A Junshan Yinzhen that has been well-made will not have a grassy taste, but will be sweet and have notes of sweetcorn.

====General Introduction====

Junshan Yinzhen is a renowned Chinese yellow tea that is cultivated on Junshan Island in Dongting Lake, Yueyang, Hunan Province. Its name is derived from its slender, needle-like form. The finished tea is characterised by its robust buds, which are uniform in length, and display a golden-yellow sheen. The buds are covered in white pekoe, which is elegantly known as “gold inlaid with jade”. The processing involves fixing (杀青), initial drying (初烘), initial wrapping for yellowing (初包闷黄), and other steps, forming a “double yellowing” fermentation technique. When brewing this tea, you will see the tea buds exhibit a “three rises and three falls”floating and sinking phenomenon. The tea's official name is now “Junshan Yinzhen”, but it has had many other names over the years. In the Tang Dynasty it was listed as a tribute tea and went by the name of “Yellow Feather Hair”. In the Later Tang of the Five Dynasties it was known as "White Crane Tea", while in the Song Dynasty it was called "Spear and Flag Tea". It wasn't until 1957 that it was given its current name. In November 2022, its production technique was inscribed on the National Intangible Cultural Heritage Representative Project list. This tea was introduced to Tibet by Princess Wencheng of the Tang Dynasty when she married a Tibetan prince. During the Qing Dynasty, it was presented as a form of tribute in accordance with the "Gongjian" standard. In 1956, it won a gold medal at the Leipzig International Fair. Then, in 1972, it was served as a Chinese tea gift to representatives at the United Nations General Assembly. In 2024, 10,400 tons of Yueyang yellow tea were produced, with a brand value exceeding 3.084 billion yuan and a comprehensive tea industry output value of over 8.9 billion yuan, meaning income was boosted for nearly 65,000 farming households.
Historical Development
The Junshan Yinzhen tea was first produced during the Tang Dynasty and was listed as a “Tribute Tea” in the Qing Dynasty. The Baling County Annals describe it as “tender green like lotus hearts”. “Junshan tribute tea began in the Qing Dynasty, when an annual tribute of eighteen jin was made.”Prior to Grain Rain (谷雨), the county magistrate invited monks to pick and make tea with one bud and one leaf, covered in white hairs, which is commonly called “White Hair Tea”. The Hunan Provincial New Gazetteer records the following: “Junshan tea resembles Longjing in colour and taste, with slightly broader and greener leaves.”Ancient people described this tea as ’a green snail on a silver plate’.

In the Qing Dynasty, Junshan tea was divided into two types: “Jiancha” (tip tea) and “Rongcha” (downy tea). “Jiancha,”resembling a tea sword with white down, was offered as tribute and known as “Gongjian.”Junshan Yinzhen has a clear and high aroma, mellow and sweet taste, bright yellow liquor, strong and pekoe-covered buds, neat strips, white pekoe like feathers, golden shiny buds with light yellow fuzz, thick and even infused leaves, and a sweet, mellow flavor that remains unchanged over time. After brewing, the buds stand upright in the liquor, rise to the surface, slowly sink, rise and sink again, exhibiting the fascinating “three rises and three falls” spectacle.

====Natural Geography====
Junshan, also referred to as Dongting Mountain, is an island in Dongting Lake in the Junshan District of Yueyang City, Hunan Province. The island is known for its fertile soil, which is mostly sandy loam, and its average annual temperature of 16–17°C and annual rainfall of about 1,340 mm. From March to September, relative humidity is high, at around 80%, creating a very humid climate. During the spring and summer months, the evaporation of water from the lake results in the formation of mist and clouds. The island is covered in dense woodlands, creating a natural habitat perfect for the growth of tea trees, with vast tea plantations sprawling across the hillsides.
The distinctive quality of Junshan Yinzhen is intimately associated with the climatic conditions, soil characteristics and plant life of Junshan Island.
====Quality Characteristics====
The tea is made entirely from buds, is covered with pekoe and has a bright colour. The finished tea is made up of buds that are all the same length and size, and are orange-yellow on the inside, wrapped in a layer of white pekoe.
====Production Process====

Junshan Yinzhen must be picked and produced strictly. The picking of this tea is a process that takes place over a period of seven to ten days around Qingming (Tomb-Sweeping Day). The standard used to be the first tender buds of spring tea, but this has now changed. The production process is comprised of eight steps: fixing (杀青), spreading and cooling (摊晾), initial drying (初烘), initial wrapping (初包), spreading and cooling again, re-drying (复烘), re-wrapping (复包), and baking to dryness (焙干). The whole process takes 78 hours.

Fixing (Shaqing)
The leaves were fixed fresh after being polished and waxed in a 20° slanted wok. The temperature of the fire is controlled in this way: first it is set to a high (100–120°C), then to a low (80°C). Each wok can hold around 300 grams of leaves. When the leaves are ready, pick them up gently with both hands, push forward from the chest, then toss and shake to let the buds slide along the wok. It is vital that movements are gentle and flexible, and that there is no heavy friction, as this can cause bud bending, pekoe loss and darkening. When the bud stems have softened for about 4–5 minutes, and the grassy smell has gone and the tea fragrance has come through, you can take it out of the wok. This will have made it about 30% lighter.
Spreading and Cooling
After fixing, we place the leaves in small bamboo trays, winnowing them gently several times to dissipate heat and remove fine debris. Spread the mixture and let it cool for 4–5 minutes before you start the drying process.
Initial Drying
Initial drying is done on a charcoal-fired kang stove. The temperature is 50–60°C. It is left for 20–30 minutes. This is until it is about 50% dry. The degree must be appropriate: if it is too dry, it makes yellowing difficult during initial wrapping, leaving leaves green and failing to achieve high aroma and yellow colour; if it is too wet, it results in low, stuffy aroma and dull colour.
Initial Wrapping
After slight cooling, initially dried leaves are wrapped in kraft paper (about 1.5 kg per packet) and placed in a box for 40–48 hours.This initial wrapping for yellowing is crucial as it promotes the formation of Junshan Yinzhen's unique colour and aroma.The amount per packet should be just right, as too much can cause intense chemical changes and darken buds, while too little can slow down the colour change and fail to meet requirements. The gradual rise in temperature inside the wrap, caused by the release of oxidative heat, can reach around 30°C after 24 hours. Ensure an even colour change by turning it over. The duration is closely related to the ambient temperature: about 40 hours at 20°C, longer if colder. When the buds turn yellow, unwrap them to dry again. Initial wrapping is used to form the basic quality style of Yinzhen.
Re-drying
The process of re-drying aims to do three things: to evaporate moisture further, to fix formed effective substances and to slow certain transformations during re-wrapping. The temperature should be around 50°C and the time should be about one hour until it is 80% dry. If the colour change after the initial wrapping is insufficient, dry to 70% dryness. After drying and cooling, the purpose is the same as after the initial drying.
Re-wrapping
The method is the same as the initial wrapping. It lasts approximately 20 hours. When the tea buds turn golden yellow with a rich aroma, it is considered to be at its optimal point.
Final Baking (Zuhuo)
The final baking temperature should be 50–55°C, with each batch weighing about 0.5 kg, and baked until completely dry.The grading of the buds is based on three key factors: plumpness, straightness and colour brightness.The best buds are plump, straight and bright yellow; the worst are thin, curved and dull yellow.
Storage
The first step is to heat and crush the gypsum, spreading it at the bottom of the box. Then, place two layers of tissue paper on top. Next, pack the tea into small packets, using tissue paper to line them. Finally, place the packets on the paper and seal the box lid. As long as gypsum is replaced timely, Yinzhen quality remains unchanged for a long time.

===Terms and Expressions===
1.gypsum 石膏
2.ferment 使发酵
3.plumpness 丰满
4.oxidative 氧化
5.evaporate 蒸发
6.tissue paper 皮纸
7.three rises and three falls 三起三落
8.spreading and cooling 摊晾
9.pekoe 茸毛
10.wrapping for yellowing 闷黄

===Questions===
1.What are the production processes of Junshan Yinzhen?

2.What type of tea does Junshan Yinzhen belong to?

3.Why is Junshan Yinzhen so expensive?

4.Why is Junshan Yinzhen known as one of the rarest teas in China?

5.What different names has Junshan Yinzhen had throughout history?

6.What key steps are involved in the production process of Junshan Yinzhen?

7.What unique visual phenomenon occurs when brewing Junshan Yinzhen?

8.What are the characteristics of the natural growing environment of Junshan Yinzhen?

9.What important cultural or economic values does Junshan Yinzhen hold in modern times?

===Answers===
1.The production of Junshan Yinzhen involves eight meticulous steps: fixing (杀青), spreading and cooling (摊晾), initial drying (初烘), initial wrapping (初包), spreading and cooling again, re-drying (复烘), re-wrapping (复包), and baking to dryness (焙干). The entire process takes approximately 78 hours.

2. Junshan Yinzhen belongs to the category of yellow tea and is one of China's most renowned representatives of this type.

3. It is expensive primarily due to its extreme rarity (grown only on the 1-square-kilometer Junshan Island), its prestigious historical status (it was a tribute tea during the Qing Dynasty), its complex and unique production process (only one person in the world knows the key step), and its very limited market circulation, as it is mainly supplied to government departments for diplomatic and important occasions.

4. It is considered one of China's rarest teas due to its tiny production area (only 1 square kilometer), state-owned status, very low annual output, production knowledge held by a single inheritor, its historical role as a tribute tea, and consequently, its extremely limited availability on the market.

5. Historically, it was known as "Yellow Feather Hair" (黄翎毛) in the Tang Dynasty, "White Crane Tea" (白鹤茶) in the Later Tang of the Five Dynasties period, and "Spear and Flag Tea" (旗枪茶) in the Song Dynasty. It was officially named "Junshan Yinzhen" in 1957.

6. Key steps in its production include "fixing" (杀青) to deactivate enzymes, "initial wrapping for yellowing" (初包闷黄) and "re-wrapping for yellowing" (复包闷黄) – collectively known as the "double yellowing" technique – which develop its unique golden color and mellow aroma, as well as precisely controlled charcoal baking.

7. When brewed, the tea buds stand upright in the liquor, then repeatedly rise to the surface and slowly sink back down three times, creating the famous spectacle known as the "three rises and three falls."

8. Junshan Island is located in Dongting Lake, featuring a humid climate (annual average humidity of 84%), abundant rainfall, and frequent mist and clouds. The soil is fertile sandy loam, and the forest coverage exceeds 90%. This creates a microclimate and ecological environment perfectly suited for tea tree growth.

9. Culturally, its production technique was inscribed on the National Intangible Cultural Heritage list in 2022. Economically, it is the core brand of Yueyang's yellow tea industry. In 2024, it helped drive the comprehensive output value of the local tea industry to over 8.9 billion yuan, with a brand value exceeding 3.084 billion yuan, boosting income for nearly 65,000 farming households. It also serves as a prestigious Chinese tea gift in diplomatic activities.

===References===

1.百度百科—君山银针

2.君山区政府门户网
3.李强,古湘,禹双双,等.君山银针茶制作技艺[J].基层农技推广,2025,13(05):111-113.

4.邹心怡,肖慧,潘苗,等.乡村振兴背景下湖南“君山银针”茶品牌的生态翻译策略与实践[J].新农民,2024,(28):4-6.

5.蒋同团队.小茶类的大发展,从君山银针到岳阳黄茶的战略升级[J].食品界,2022,(07):63-68.

6.郭宇萌.有一种味道是君山银针[J].青年文学家,2022,(01):99.

==期末论文==
===君山银针===

坐落在岳阳历史名城15公里外的君山岛，是中国许多著名民间传说的发源地，据说历史可以追溯到神话时代。这个小岛自唐代以来就与茶文化息息相关，已有1300多年的历史。君山银针在清代（1616-1912年）成为贡茶，每年皇室需要供应9公斤。导致这种茶极为稀有的几个因素包括：茶叶的卓越历史；岛屿的极小规模（仅1平方公里）；岛屿仍国有；全球仅一人掌握制作此茶的关键步骤（他因专业技能获得特别政府津贴，拥有30多名助手）。君山银针毫无疑问是当今中国最稀有的茶叶。

作为真正的现代贡茶，每年的收成直接供应给政府部门，通常保留用于款待访问的外交官员和重要人士。由于市场流通有限，君山银针价格稳定且非常昂贵。君山岛上采摘了许多不同品种的茶叶，包括原生种、银针一号、碧香早、桃源大叶、浮云等以及一种绿茶品种。君山银针是一种只采摘芽头的黄茶，只有未开放的芽头在早春时节采摘，通常从三月上旬开始。

制作君山银针的过程始于高温处理茶叶以抑制部分酶活性。然后茶叶经过半干燥后被严密包裹发酵48小时。随后再次湿润的茶叶进行第二次烘焙，再次发酵约24小时，最后在木炭上干燥。制作精良的君山银针不带任何草味，甜美纯净，带有甜玉米的香气。

====总体介绍====

银针是中国黄茶类名茶之一，产于湖南岳阳洞庭湖中的君山，因形细如针得名。其成品茶芽头茁壮，长短均匀，芽身金黄发亮，外裹白毫，雅称"金镶玉"。君山银针制作需经杀青、初烘、初包闷黄等工序，形成"双闷黄"发酵工艺，冲泡时呈现"三起三落"的茶芽浮沉现象。该茶唐代已列为贡品，五代后唐称"黄翎毛”，宋代称"白鹤茶”，清代统称"旗枪茶"，1957年正式定名"君山银针" 。君山银针制作技艺于2022年11月入选国家级非物质文化遗产代表性项目。唐代文成公主出嫁时曾携带此茶入藏，清代按"贡尖"标准进贡。1956年获莱比锡国际博览会金质奖章，1972年作为中国茶礼招待联合国大会各国代表。2024年岳阳黄茶年产量达1.04万吨，品牌价值突破30.84亿元，茶产业综合产值超89亿元，带动近6.5万农户增收。

====历史发展====
君山银针始于唐代，清朝时被列为“贡茶”。据《巴陵县志》记载：“君山产茶嫩绿似莲心。”“君山贡茶自清始，每岁贡十八斤。”“谷雨”前，知县邀山僧采制一旗一枪，白毛茸然，俗称“白毛茶”。又据《湖南省新通志》记载：“君山茶色味似龙井，叶微宽而绿过之。”古人形容此茶如“白银盘里一青螺”。
清代，君山茶分为“尖茶”、“茸茶”两种。“尖茶”如茶剑，白毛茸然，纳为贡茶，素称“贡尖”。君山银针茶香气清高，味醇甘爽，汤黄澄高，芽壮多毫，条真匀齐，白毫如羽,芽身金黄发亮,着淡黄色茸毫,叶底肥厚匀亮，滋味甘醇甜爽，久置不变其味。冲泡后，芽竖悬汤中冲升水面，徐徐下沉，再升再沉，三起三落，蔚成趣观。

====自然地理====

君山又名洞庭山，为湖南岳阳市君山区洞庭湖中岛屿。岛上土壤肥沃，多为砂质土壤，年平均温度16～17度，年降雨量为1340毫米左右，相对湿度较大,三月至九月间的相对湿度约为80%，气候非常湿润。春夏季湖水蒸发，云雾弥漫，岛上树木丛生，自然环境适宜茶树生长，山地遍布茶园。君山银针品质独特，与君山岛上的气候、土质、植被密不可分：
3.1小气候
君山岛四面环水，无高山深谷，太阳从早到晚照射全岛，年均日照进间为1740小时，空气湿度大，年均相对湿度84%，阳光中含有较多的红光和黄光，昼夜湿差较小，空气温度变化较平缓，而地面昼夜温差大，这种小气候特别有利于茶树生长。
3.2土质
君山岛上土质主要为细小砂质土，肥沃深厚，土质疏松，吸热能力强，表层水分蒸发快。盛夏季节，高温迫使茶树主根向纵深延伸，以便吸收土层深处的水分和养料，以至有些茶树主根长达6米多。同时，砂质土壤散热也快，夏季子夜后，岛上的气温可降到摄氏20多度，昼夜温差大也有利于茶树生长。
3.3生态环境
岛上有维管束植物99科221属310种，森林覆盖率达90%以左右。由于树木荫蔽的谷地和坡地，冬季气温高，春季温度变幅小，全年光照弱，风速小，湿度大，云雾多，因而使茶树叶片栅栏组织厚度变小，海绵组织发达，角质层薄，叶片大，厚而柔软，新枝节间长，所以君山茂密的森林是生产名茶的优势条件之一。

====品质特征====

全由芽头制成，茶身满布毫毛，色泽鲜亮。其成品茶芽头茁壮，长短大小均匀，内呈橙黄色，外裹一层白毫。

====制作工序====

君山银针的采摘和制作都有严格要求，每年只能在“清明”前后七天到十天采摘，采摘标准为春茶的首轮嫩芽。制作这种茶，要经过杀青、摊晾、初烘、初包、再摊晾、复烘、复包、焙干等八道工序，需78个小时。
杀青
在20° 的斜锅中进行，锅子在鲜叶杀青前磨光打蜡，火温掌握“先高（100～120℃）后低（80℃）”，每锅投叶量300克左右。茶叶下锅后，两手轻轻捞起，由怀内向前推去，再上抛抖散，让茶芽沿锅下滑。动作要灵活、轻巧，切忌重力摩擦，防止芽头弯曲、脱毫、茶色深暗。约经4～5分钟，芽蒂萎软清气消失，发出茶香，减重率达30%左右，即可出锅。
摊凉
杀青叶出锅后，盛于小篾盘中，轻轻杨簸数次，散发热气，清除细末杂片。摊凉4～5分钟，即可初烘。
初烘：放在炭火炕灶上初烘，温度掌握在50～60℃，烘20～30分钟，至五成干左右。初烘程度要掌握适当，过干，初包闷黄时转色困难，叶色仍青绿，达不到香高色黄的要求；过湿，香气低闷，色泽发暗。
初包
初烘叶稍经摊凉，即用牛皮纸包好，每包1．5公斤左右，置于箱内，放置40～48小时，谓之初包闷黄，以促使君山银针特有色香味的形成，为君山银针制造的重要工序。每包茶叶不可过多或过少，太多化学变化剧烈，芽易发暗，太少色变缓慢，难以达到初包的要求。由于包闷时氧化放热，包内温度逐升，24小时后，可能达30℃左右，应及时翻包，以使转色均匀。初包时间长短，与气温密切相关。当气温20C左右，约40小时，气温低应当延长。当芽现黄色即可松包复烘。通过初包，银针品质风格基本形成。
复烘
复供的目的在于进一步蒸发水分，固定已形成的有效物质，减缓在复包过程中某些物质的转化。温度50℃左右，时间约一小时，烘至八成干即可。若初包变色不足，即烘至七成干为宜。下烘后进行摊凉，排凉的目的与初烘后相同。
复包
方法与初包相同。历时20小时左右。待茶芽色泽金黄，香气浓郁即为适度。
足火
足火温度50～55℃，烘量每次约0.5公斤，倍至足干止。
加工完毕，按芽头肥瘦、曲直、色泽亮暗进行分级。以壮实、挺直、亮黄者为上；瘦弱、弯曲、暗黄者欢之。
贮藏
将石膏烧热捣碎，铺于箱底，上垫两层皮纸，将茶叶用皮纸分装成小包，放在皮纸上面，封好箱盖。只要注意适时更换石膏，银针品质经久不变。

===术语===
1.gypsum 石膏
2.ferment 使发酵
3.plumpness 丰满
4.oxidative 氧化
5.evaporate 蒸发
6.tissue paper 皮纸
7.three rises and three falls 三起三落
8.spreading and cooling 摊晾
9.pekoe 茸毛
10.wrapping for yellowing 闷黄

===问题===
1.君山银针有哪些制作工序？
2.君山银针属于什么茶类？
3.君山银针为什么价格昂贵？
4.君山银针为什么被誉为中国最稀有的茶之一？
5.君山银针在历史上曾有哪些不同的名称？
6.君山银针的制作过程中包含哪些关键步骤？
7.君山银针在冲泡时有什么独特的视觉现象？
8.君山银针的自然生长环境有什么特点？
9.君山银针在当代有哪些重要的文化或经济价值？

===回答===
1. 君山银针有哪些制作工序？
君山银针的制作需经过杀青、摊晾、初烘、初包、再摊晾、复烘、复包、焙干等八道严谨的工序，全程约78小时。
2. 君山银针属于什么茶类？
君山银针属于黄茶，是中国著名的黄茶代表之一。
3. 君山银针为什么价格昂贵？
其价格昂贵的主要原因包括：产量极其稀有（仅产于1平方公里的君山岛）、历史地位崇高（曾为清代贡茶）、制作工艺复杂且唯一（全球仅一人掌握核心工艺），以及市场流通量非常有限，主要供应政府部门用于外交等重要场合。
4. 君山银针为什么被誉为中国最稀有的茶之一？
原因包括：产地极小（仅1平方公里）、仍为国有、年产量极低、制作技艺由唯一传人掌握，且历史上长期作为贡茶，市场流通极少。
5.君山银针在历史上曾有哪些不同的名称？
在唐代称“黄翎毛”，五代后唐时称“白鹤茶”，宋代称“旗枪茶”，直至1957年才正式定名为“君山银针”。
6.君山银针的制作过程中包含哪些关键步骤？
关键步骤包括“杀青”以抑制酶活性、“初包闷黄”和“复包闷黄”（即“双闷黄”工艺）以形成其独特的金黄色泽与醇香，以及精准控制的炭火烘焙。
7. 君山银针的制作过程中包含哪些关键步骤？
关键步骤包括“杀青”以抑制酶活性、“初包闷黄”和“复包闷黄”（即“双闷黄”工艺）以形成其独特的金黄色泽与醇香，以及精准控制的炭火烘焙。
8.君山银针的自然生长环境有什么特点？
君山岛位于洞庭湖中，气候湿润（年均湿度84%），雨量充沛，常年云雾缭绕。土壤为肥沃的砂质壤土，森林覆盖率超过90%，形成了非常适合茶树生长的小气候和生态环境。
9.君山银针在当代有哪些重要的文化或经济价值？
文化上，其制作技艺于2022年被列入国家级非物质文化遗产。经济上，它是岳阳黄茶产业的核心品牌，2024年带动产业综合产值超89亿元，品牌价值超30亿元，惠及近6.5万农户。它也是国家外交活动中的珍贵茶礼。

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=Courses=
Fall Semester 2025
*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Spring Semester 2025
*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*1 FRI 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Summer Semester 2025
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
Fall Semester 2024
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
*THU 10-10:45, 10:55-11:40 BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
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*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8, Lehrmaterial wird vom Lehrer gestellt, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 31.10.
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译 Translation & Interpretation) 中国语言文化 , Textbook: Woesler 2024, 1 5.9., 2 12.9., 3 19.9., 4 26.9., 5 10.10., 6 17.10., 7 24.10., 8 31.10., 9 7.11., 10 14.11., 11 21.11., 12 28.11., 13 5.12., 14 12.12., 15 19.12., 16 26.12.
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习, 周2,4,6,8,10,12,14,16 (跟范妮老师), Lehrbuch: 《当代大学德语听说训练》audio, paper, 1 13.9., 2 27.9., 3 25.10., 4 8.11., 5 22.11., 6 6.12., 7 20.12.
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）, Lehrbuch: 《德语初级听力》pdf and audio, 1 6.9., 2 13.9., 3 20.9., 4 27.9., 5 11.10., 6 18.10., 7 25.10., 8 1.11., 9 8.11., 10 15.11., 11 22.11., 12 29.11., 13 6.12., 14 13.12., 15 20.12., 16 27.12.
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题（智慧树网络课程）人文社会科学类全校 3 2 32 课时 2-12 0

Summer Semester 2024
*THU (8:00-9:30 s. 413) 9:45-11:15 s. 413 SIN II s. 413 MGR 文章写作 Praktyczna nauka języka chińskiego – '''kompozycja tekstu''' [[Text Comp 2024]] Sess1 Feb 29 8-9:30, Sess2 Feb 29 9:45-11:15, Sess3 Mar 21, 8:00-9:30, Sess4 Mar 21, 9:45-11:15, Sess5 Apr 4, 8:00-9:30, Sess6 Apr 4, 9:45-11:15, Sess7 Apr 11, 8:00-9:30, Sess8 Apr 11, 9:45-11:15, Sess9 Apr 18 8:00-9:30, Sess10 Apr 18, 9:45-11:15, Sess11 Apr 25 8:00-9:30, Sess 12 Apr 25, 9:45-11:15, Sess13 June 13 8:00-9:30, Sess14 June 13, 9:45-11:15, Sess15 MON Jun 17, 8:00-9:30, Sess16 MON Jun 17, 9:45-11:15, FinEx Jun 20, 8:00-9:30
*THU 11:30-13:00 s. 401 (13:15 14:45 s. 413) SIN I MGR 中國文化 '''Kultura chińska''' [[Chin Cult 2024]] Sess1 Feb 29 11:30-13:00, Sess2 Feb 29 13:15-14:45, Sess3 Mar 21, 11:30-13:00, Sess4 Mar 21, 13:15-14:45, Sess5 Apr 4, 11:30-13:00, Sess6 Apr 4, 13:15-14:45, Sess7 Apr 11, 11:30-13:00, Sess8 Apr 11, 13:15-14:45, Sess9 Apr 18 11:30, Sess10 13:15-14:45, Sess11 Apr 25 11:30-13:00, Sess 12 Apr 25, 13:15-14:45, Sess13 June 13 11:30-13:00, Sess14 June 13, 13:15-14:45, Sess15 MON Jun 17, 11:30-13:00, Sess16 MON Jun 17, 13:15-14:45, FinEx Jun 20, 11:30-13:00
*FRI (8:00-9:30 s. 400) 9:45-11:15 SIN III s. 424 中國文學-詩歌 Język chiński klasyczny – proza lub '''poezja''' [[Chin Poetry 2024]] s. 400/424 Sess1 Mar 1 8:00-9:30, Sess2 Mar 1 9:45-11:15, Sess3 Mar 22, 8:00-9:30, Sess4 Mar 22, 9:45-11:15, Sess5 Apr 5, 8:00-9:30, Sess6 Apr 5, 9:45-11:15, Sess7 Apr 12 8:00-9:30, Sess 8 Apr 12, 9:45-11:15, Sess9 Apr 19, 8:00-9:30, Sess10 Apr 19, 9:45-11:15, Sess11 Apr 26 8:00-9:30, Sess 12 Apr 26, 9:45-11:15, Sess13 June 14 8:00-9:30, Sess14 June 14, 9:45-11:15, Sess15 TUE Jun 18, 8:00-9:30, Sess16 TUE Jun 18, 9:45-11:15, FinEx Jun 21, 8:00-9:45

Co-taught courses in China
*WED 16:30-17:15 '''德语语法''' [[Germ Gramm 2024]] 30xBA2 22德 Wang Zhuochen (1-16,外国语学院大楼406教室09163042.011) S1 XS 28.2., S2 MW 6.3., S3 MW 13.3., S4 XS 20.3., S5 MW 27.3., S6 XS 3.4., S7 XS 10.4., S8 XS 17.4., S9 XS 24.4., S10 MW 8.5., S11 MW 15.5., S12 MW 22.5., S13 MW 29.5., S14 MW 5.6., S15 XS 12.6., Exam XS 19.6.
*THU 8:00-9:40 '''翻译理论与实践''' [[Trans TP 2024]] BA3 21德 Callie (单1-15.外国语学院大楼401教室 09163071.01) (S1 OD 29.2., S2 MW 14.3., S3 MW 28.3., S4 OD 11.4., S5 OD 25.4., S6 MW 9.5., S7 MW 23.5., S8 MW 6.6.)
*THU 8:00-9:40 '''德语语言学导论''' [[Germ Ling 2024]] BA3 21 Callie(双2-16.外国语学院大楼401教室 09163045.01) (S1 MW 7.3., S2 OD 21.3., S3 holiday 4.4., S4 OD 18.4., S5 OD 28.4. (make up for May 2), S6 MW 11.5., S7 MW 16.5., S8 MW 30.5., S9 OD 13.6.)
*FRI 8:00-9:40 '''中国文化概要''' [[Cult Ov 1 2024]] 603 BA2 22笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*FRI 10:00-11:40 '''中国文化概要''' [[Cult Ov 2 2024]] 404 BA2 22笔译2 Yu Xinzhong (1-16, 外国语学院大楼404教室09161319.01) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 11.5. (make up for May 2), S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6., S17 OD 14.6.)
*Important conference dates: Changsha 29.3., 20.4., Poznan 20.-21.7.

*THU 9:45-11:15 MA2 sal. 401 (403 on additional dates: Nov 30 15:00-16:30, Dec 14 15:00-16:30) [[Practical Study of Chinese literature - text creation]] 文章写作 Praktyczna nauka jezyka chinskiego – kompozycja tekstu SIN m II 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*THU 11:30-13:00 MA1 sal. 401 [[Chinese Culture]] 中國文化 Kultura chinska SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 8:00-9:30 BA3 sal. 424 (426 on additional dates: Dec 1, 8, 15 13:15-14:45) [[Classical Chinese Poetry and Prose]] 中國文學-散文 Jezyk chinski klasyczny SIN-m I 30+30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
*FRI 9:45-11:15 MA1 sal. 413 (424 on additional dates: Nov 30, Dec 7, Jan 18 8:00-9:30 413) [[Critical Review of Chinese Literature]] 中国文學反思 Krytyczny przeglad literatury chinskiej SIN m I (1) 30, fall 2023, Adam Mickiewicz University, Poznan (this course currently moves to Teams)
* September 2023 [[Literatur-Übersetzung Chinesisch-Deutsch]] MA, 汉德文学翻译，研究生（4人），32学时, Hunan Normal University, Changsha
* September 2023 [[Konversation Deutsch]] aktuelle Themen aus Gesellschaft und Kultur, BA, 德语口语，大二本科生（入门）（28人），16学时, Hunan Normal University, Changsha
* May-June [[Chinese Culture 2023]], Adam Mickiewicz University, Poznan
* Mon 18:30-21:10, Wed 19:00-21:40 [[Chinese Classics Translation Spring 2023]] 中華典籍外譯 MA, first session Tue 10-11:40 room 601
* Mon 8:00-9:40, Wed 13:00-14:40, Fri 13:00-14:40 602, first session Fri 8-9:40 604 中国文化概要 [[Introduction to Chinese Culture Spring 2023]] BA, (1-16,外国语学院大楼604机房 09161319.02)(1-16, Room 604, School of Foreign Languages Building 09161319.02)
* MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
* Friday 19:00-20:40 [[Chinese Language and Culture Fall 2022]] 87 MA students (starts Sep 30), fall term 2022, with Ole Döring, Cord Eberspächer
* Monday 14:30-16:10 [[Translation Theory ZH-DE 2022]] 29 BA students (starts Aug 29, weeks 1-16) 汉德翻译理论与实践 #腾讯会议：345-3281-9241, fall term 2022
* Monday 14:30-16:10 [[Foundations of Chinese Cultures 2022]] 29 BA students 中国文化基础(09166202.01) (starts Feb 21, weeks 1-16, 外国语学院大楼605机房) 20级翻译01班 jwglnew.hunnu.edu.cn, spring term 2022
* Friday 14:30-16:10 [[Chinese Classics Translation 2022]] 47+ MA students together with Prof. Cord Eberspaecher, class of 2020 Translation & Interpreting Major, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Friday 16:30-18:10 [[Chinese Language and Culture 2022]] 76+ MA students together with Prof. Cord Eberspaecher , class of 2020 Translation & Interpreting, Classroom 613 (starts Feb 25, weeks 1-16), spring term 2022
* Wednesday 14:30-16:10 '''[[Introduction to Translation Studies 2021]]''' for MA students of 2021, fall term 2021, Hunan Normal University
* Wednesday 14:30-16:10 '''[[Foundations of Chinese Cultures 2021]]''' for BA students of 2019, spring term 2021, Hunan Normal University
* Corona - Scientific Methods and Ability of Dialogue, winter term 2021, Witten/Herdecke University
* Thursday 11:00-13:30 '''[[Childhood in China - Past and Present]]''' session in the seminar by Prof. David Martin '''Childhood and Development''', Jan 21, 2021, Witten/Herdecke University
* Monday 14:30-16:10 '''[[Chinese Languages and Cultures]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 16:30-18:10 '''[[Introduction to Translation Studies]]''' for MA students of 2020, fall term 2020, Hunan Normal University
* Monday 19:00-20:40 '''[[German Phonetics]]''' for BA students of 2020, fall term 2020, Hunan Normal University, Tuesday 14:30-16:10 (8:30-10:30), Wednesday 16:30-18:10 (10:30-12:10 Uhr), Thursday 19:00-20:40 (13:00-14:40 Uhr), Friday 14:30-16:10 (8:30-10:10 Uhr)
* [[Basics of Chinese Culture]], summer term 2020, Hunan Normal University
* [[Cross Media Storytelling]], summer term 2020, Witten/Herdecke University
* [[Holism as a Concept]], summer term 2020, Witten/Herdecke University
* Introduction to Traditional Chinese Culture, winter term 2019/2020, Hunan Normal University
* Introduction to Translation Studies, winter term 2019/2020, Hunan Normal University
* Total Digitization – where is the place for humans?, winter term 2019/2020 Witten/Herdecke University
* How Social is Social Media?, winter term 2019/2020 Witten/Herdecke University
* Regional Digital Cultures - Disruptions (USA), Technology-Skip (Africa), Privacy Discussions (Europe), AI-Controlled Society (China) , winter term 2019/2020 Witten/Herdecke University
* [[Networks, Protocols, Authority]] Netzwerke - Protokolle - Macht - summer term 2019 Leuphana University Lueneburg, with Martin Warnke
* [[Propaganda_-_Die_Rhetorik]] (Propaganda - Rhetorics) Propaganda - Die Rhetorik - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/y6npurbn
* [[Meisterwerke_chinesischer_Dichtkunst]] (Master Pieces of Chinese Poetry) Meisterwerke chinesischer Dichtkunst - summer term 2019 (Witten/Herdecke University, Germany) http://tinyurl.com/yymdbm39
* [[Crosscultural Comparison of Literary Works]] Literaturwerke verschiedener Kulturen im Direktvergleich - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/Fj4yeU
* [[Digitalization models in China, the US and Europe|Digitization models in China, the US and Europe]] - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/ZnbY6V
* [[China - Alternative to Western Societies?]] China – techno-autoritäre Alternative zur freiheitlich-westlichen Demokratie? - winter term 2018/2019 (Witten/Herdecke University, Germany) https://goo.gl/8fxyU7
* [[Ride through World Literature]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[New (old) world power China. Today's foreign policy and political philosophical origins]] - summer term 2018 (Witten/Herdecke University, Germany)
* [[International Sinology]] - spring term 2018 (Beijing Normal University/China)
* [[Introduction to Foreign Literature 2018]] - spring term 2018 (Beijing Normal University/China)
* [[Myth of Immortality / Mythos Unsterblichkeit]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Motifs of World Literature / Motive der Weltliteratur]] - winter term 2017 (Witten/Herdecke University/Germany)
* [[Research on the Overseas Distribution of Chinese Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Selected Research Topics in Comparative Literature]] - fall term 2017/18 (Beijing Normal University/China)
* [[Internet in China]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Education in Dictatorships]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Early Western Translations of the Dream of the Red Chamber]] - summer term 2017 (Witten/Herdecke University/Germany)
* [[Introduction to Foreign Literature]] - spring term 2017 (Beijing Normal University/China)
* [[Mass communication in the Age of New Media]] - winter term 2016 (Witten/Herdecke University/Germany)
* [[First encounters between distant cultures]] - and the earliest translations of literature, focusing on China (from the German/European perspective) - winter term 2016 (Witten/Herdecke University/Germany)
* [[Dissemination of Chinese Literature abroad]] - fall term 2016 (Beijing Normal University/China)
* [[Translated Literature]] - fall term 2016 (Beijing Normal University/China)
* [[Communication 4.0]] - New experimental communication apps (in China, the US and Europe) - summer term 2016 (Witten/Herdecke University/Germany)
* [[Internationale Softpower - mit einem Fokus auf China]] - summer term 2016 (Witten/Herdecke University/Germany)
* [[Modern Chinese Literature]] - Students' contributions - (Peking Normal University/China)
* [[Resolving Conflicts, Finding Compromises, Understanding Each Other]] -- summer term 2015 (Witten/Herdecke University/Germany)
* Early reception and translations of the Dream of the Red Chamber -- summer term 2015 (Nanking Normal University/China)
* [[EU-China Multi-level Comparison]] -- winter term 2014/2015 (Università Roma Tre/Italy)
* [[The Other]] -- winter term 2014/2015 (Witten/Herdecke University/Germany)
* [[Cultural memory and the Cultural Revolution]] -- summer term 2014 (Witten/Herdecke Universit/Germany)
* [[Communicating better]] -- summer term 2014 (Witten/Herdecke University/Germany)
* [[China and us]] -- winter term 2013/2014 (Witten/Herdecke University/Germany)
* [[Reading Course]] -- winter term 2013/2014 (Ruhr University Bochum/Germany)
* [[German as a Foreign Language B2]].2 for Chinese Students (Ruhr University Bochum/Germany)
* [[Comparing Cultures]] -- Students' contributions (Witten/Herdecke University/Germany) - co-taught Dr. M. Kettner / Dr. M. Woesler
* [[Traditional Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the earliest times through the Ming Dynasty.
* [[Modern Chinese History]] -- Students' contributions (Utah Valley University/USA) - Chinese History from the Qing Dynasty to today.
* [[Classical Chinese Literature]] -- Students' contributions (Utah Valley University/USA) - The history of Chinese Literature from the earliest times through the Ming Dynasty.
* [[Modern Chinese Literature]] - Students' contributions - (Utah Valley University/USA)
* [[Introduction to Chinese Studies]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Philosophy]] - Students' contributions (Utah Valley University/USA)
* [[Chinese Culture and Film]] -- Students' contributions (Utah Valley University/USA) - Chinese Films- from the earliest days of movies in China to now and their changing representations of Modern Chinese Culture.
* [[Success in the China Related Job Market]] -- (Utah Valley University/USA) Timeline and Students' contributions

=Institutions and Chinese Studies Conferences=
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
*[[International Chinese Studies Centre]]
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London (150 participants, 100 presentations online), [http://china-studies/wacs/WACS4PROGRAM.pdf program]
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, H. v. Senger, You Tianwei, Zhou Wenye organizers: WACS, GCA etc.
* 100th Anniversary of May Fourth Movement, Cologne, Dusseldorf, Witten
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria, host: Witten/Herdecke University, convener: M. Woesler, R. Trappl, organizers: WACS, GCA etc.
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies - Celebrating the 60th Anniversary of the German China Association] August 19-20, 2017 Witten/Germany, host: Witten/Herdecke University, convener: M. Woesler, organizers: WACS, GCA etc.
* [http://china-studies.com/hlm/ Celebrating Cao Xueqin's 300th Anniversary - 3rd Int'l Dream of the Red Chamber Conference Europe] M. Woesler for Folkwang University Essen and Cao Xueqin Society (Peking/China) 2016
* [[Chinas Way 2|China's Way II - European Forum 2015 on the Chinese Path - Achievements and their reasons, Problems and their solutions]] Chinese Studies Conference, September 27, 2015 (Berlin, Germany), GCA (G. Paul/M. Woesler), Luxemburg Foundation & CASS. German version: [[Chinas Weg 2|Chinas Weg II - Europäisches Forum 2015 zum chinesischen Entwicklungsweg - Erfolge und Gründe, Probleme und Lösungen]]
* [[Chinas Way 1|China's Way I - European Forum 2014 on the Chinese Path]] Chinese Studies Conference, October 20, 2014 (Berlin, Germany), GCA (G. Paul/M. Woesler) & CASS. German version: [[Chinas Weg 1|Chinas Weg I - Europäisches Forum 2014 zum chinesischen Entwicklungsweg]]
* [[China and Europe]] Chinese Studies Conference, March 27-28, 2014 (Italy, Rome), L. Moccia/M. Woesler
* [[Creation and Consumption of Cultural Commodities]] December 13-16, 2013 (Wuhan, China), Wenqian G./S. Li et al. and M. Woesler/M. Kettner/M. Frühauf
* [[China and the Asia-Pacific]] 2nd UVU Chinese Studies Conference, March 7-8, 2013 (USA), M. Woesler
* [[China's Global Impact]] Inaugural UVU Chinese Studies Conference, March 23-25, 2012 (USA), M. Woesler

The indicated colleagues are the chairs and co-chairs of the Organizing Committees.

= Useful things =
* [[Speech scripts]]
* [[Free online tools to learn Chinese]] -- Students' contributions Fall 2011 - Chinese Language
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
<span style="color:red">'''.'''</span>

User talk:Liu Ziling

2025-12-11T12:07:07Z

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User:Liu Ziling

2025-12-11T12:07:07Z

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My name is Liu Ziling. I come from Bengbu city ,Anhui province. I’m a Capricorn.I am a friendly and active girl.I like playing sports, especially some ball games, like playing badminton, table tennis and tennis.I also like watching movies, and my favorite movie is Pride and Prejudice that I recommend to you.Nice to meet you.

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User:Yue Zihao

2025-12-11T12:02:16Z

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I am 22 years old, a graduate student majoring in English Translation at Hunan Normal University. I graduated from Hunan University of Arts and Science, where I completed my bachelor's degree in Business English. My hobbies include playing table tennis, reading novels, and watching American TV series.I also enjoy photography, as it allows me to capture the beautiful scenery of this world. I'm also fond of outdoor cycling, where I get to witness various beautiful landscapes firsthand with my bicycle.

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User:Cao Wenwen

2025-12-11T11:58:58Z

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I currently works at the School of Foreign Languages, Hunan Normal University, focusing on postgraduate education management and academic affairs coordination. With strong organizational and communication skills, I has contributed to improving the efficiency, transparency, and quality of graduate admissions and academic management, supporting the university’s “Double First-Class” development goals.

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