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Cult Ov Fin Exam Spring 2025

2025-06-19T08:24:18Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture */

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==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》Legend of Zang Hai==
The Application and Embodiment of Chinese Cinematic Aesthetics in The Legend of Zang Hai

202330092205 彭佩欣 Peng Peixin

Abstract: The Legend of Zang Hai (Zang Hai Zhuan) was the most popular Chinese historical political drama of 2025, another masterpiece directed by Zheng Xiaolong following The Legend of Zhen Huan. Every aspect, from characters and plot to dialogue and settings, demonstrates meticulous craftsmanship. The series garnered widespread acclaims both domestically and internationally. Its success stems not only from the production team's high-quality execution and the actors' superb performances but also from its cinematography, which is deeply imbued with the characteristics of Chinese aesthetics. This essay aims to conduct an in-depth analysis of the multi-dimensional features of Chinese cinematic aesthetics in The Legend of Zang Hai , exploring how it utilizes various techniques to shape artistic conception (yijing), convey spirit-resonance (qiyun), and intricately interweave with narrative. In doing so, it showcases artistic appeal while achieving cultural transmission.

Keywords: The Legend of Zang Hai (Zang Hai Zhuan), Chinese Aesthetics, Artistic Conception (Yijing), Lively Spirit-Resonance (Qiyun Shengsheng), Focus Perspective, Color Aesthetics

In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series.

1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings. [[File:Example(Peng Peixin snow).jpg]]

For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance.[[File:Example(Peng Peixin).jpg]]

2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality.

3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception.

[[File:Example(Peng Peixin4).jpg]]

4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states.

[[File:The Legend of Zang Hai.jpeg]]

The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange.

References: (1) Zong, Baihua. (1981). A Stroll through Aesthetics M M. Shanghai: Shanghai People's Publishing House. (2) Ye, Lang. (2015). Beauty Lies in the Image-Conception M M. Beijing: Beijing United Publishing Co., Ltd. (3) Xie, He. (1959). The Record of the Classification of Old Painters (Guhuapinlu) M M. Beijing: People's Fine Arts Publishing House. (4) Wang, Qiang. (2020). The Transformation and Application of 'Qiyun Shengsheng' in Contemporary Film and Television Creation J J. Journal of Beijing Film Academy, (02). (5) Bachelard, Gaston. (2014). The Poetics of Space. (Pan Yihai, Trans.). Shanghai: Shanghai Translation Publishing House. (Original work published 1958) (6) Barnard, Malcolm. (2004). Approaches to Understanding Visual Culture. (Li Benbing, Trans.). Beijing: China Renmin University Press. (Original work published 2001)

Terms and Expressions: Artistic Conception (Yijing)意境 Empty Shot空镜头 Layered Lighting and Shadow光影层次 Lively Spirit-Resonance (Qiyun Shengsheng)气韵生动 Camera Movement 运镜 Viewing Journey (Youguan)游观 Flowing with Grace行云流水 Focus Perspective焦点透视 Dynamic Balance 动态平衡 Color Aesthetics色彩美学 Bamboo Green and Ink Black青墨色 Cyan-Blue青蓝色 Navy Blue藏青色 Dark Red and Deep Brown 暗红与深褐 Martial World (Jianghu) 江湖 Cultural Calling Card 文化名片 Spirit-Resonance (Qiyun)气韵 Color Collision 色彩碰撞 Questions: 1.What aspects of Chinese cinematic aesthetics are applied in The Legend of Zang Hai according to this paper? Crafting "Artistic Conception" (Yijing); Pursuing "Lively Spirit-Resonance" (Qiyun Shengsheng); Breaking "Focus Perspective"; Employing "Color Aesthetics" 2.What is the function of applying "Lively Spirit-Resonance" (Qiyun Shengsheng)? Immersive Storytelling & Emotional Flow; Expressing Vitality & Inner State 3.How are the profound implications conveyed in The Legend of Zang Hai ? Empty Shots.

《藏海传》中中式镜头美学的运用与体现

彭佩欣

摘要：《藏海传》是2025年最火爆的中国古装权谋剧，是郑晓龙导演继《甄嬛传》之后又打造的一部佳剧。从人物到剧情到台词到场景，每一个环节都独具匠心，该剧在海内外收获了一众好评，该剧的成功不仅离不开制作方的精良制作和演员的精湛演绎，而且其中的镜头场景极具中式美学的特征。本文旨在深入剖析《藏海传》中中式镜头美学的多维特征，探究其如何依托各类手法塑造意境、传递神韵，并与剧情叙事紧密交织，既展现艺术魅力，又实现文化传承。

关键词：藏海传，中式美学，意境，气韵生动，焦点透视，色彩美学

近年来，众多国产电视剧在镜头美学上下功夫，特别是国产古装剧，将东方美学传播至海外各地，给影迷们贡献视觉盛宴。《藏海传》作为2025年国产古装剧的视觉美学标杆，其镜头语言深度植根于中国传统艺术精神。该剧中体现的中式美学通过独特视觉表示出来，延续和发展中华优秀传统文化。《藏海传》用独特的镜头语言将古典意境、气韵、空间观念等要素娓娓道来，为观众带来别具一格的视觉盛宴与文化浸润。下面会对《藏海传》中中式镜头美学的几个突出的多维特征进行介绍。

1.“意境”的营造。（叶 2015）《藏海传》善于用空镜头来传达深远意蕴。如雪落庭院场景，空无一人的庭院中，雪花静静飘落堆积，无声的画面尽显萧索凄冷，为即将上演的权谋争斗、人物命运转折提前铺陈出凝重氛围，引得观众心生涟漪，提前沉浸其中。同时《藏海传》对光影层次的运用更是意境营造的妙笔，纱帘后，朦胧光影勾勒出人物婉约身姿、迷离面容，似真似幻，宛如从古画中走出。烛火下，剪影翩跹，人物或喜或悲、或谋或思的情绪隐匿于明暗交替间，含蓄又炽热，让观众透过光影间隙窥探人物心底隐秘，如临古典诗词所绘之境，余韵悠长。

2.“气韵生动”的追求。（王 2020）《藏海传》中镜头缓缓推进于藏海在墓地中发现的壁画，长长的壁画宛如一幅古朴长卷（谢 1959），随着镜头推进徐徐展开，画面逐步聚焦壁画内容，不仅推动情节发展，还用运镜模拟出“游观”体验。观众同步和主人公窥探壁画奥秘，感受神秘氛围，气韵随之流动绵延。与此同时，人物动作也与镜头运动配合巧妙。如人物行礼时，镜头微微下沉、缓慢推进，身体前倾、双手交叠的恭敬动作纤毫毕现，礼法的庄重与人物的敬畏汇于画面。这一连串动作与镜头配合严丝合缝，仿若行云流水，尽展人物气韵与生命活力。

3.“焦点透视”的突破。（巴什拉 2014）宫廷上朝场景中，文官和武官对称分布在大殿左右两侧，然而并非静态，侧留宫廷侍卫伫立，人物虽未处中心，却在对称框架里衍生出动态平衡。视线可自由穿梭于人物、建筑间隙，领略空间层次，挣脱西方透视桎梏，尽显东方自由空间观。

4.“色彩美学”的碰撞。（巴纳德 2004）该剧整体色彩以中国传统颜色为主。宫廷场景，红墙金瓦，彰显皇家威严尊贵；江湖场景，青墨色晕染，竹海清流，还原自然的清幽本色；人物服饰，官场服饰采用青蓝色，象征沉稳庄重，郡主服饰采用红色和藏青色，凸显人物身份尊贵和性格活泼。危机四伏时，暗红和深褐充斥画面，营造压抑紧张的气氛。色彩的碰撞调和，精准锚定情绪坐标，强化叙事氛围，让观众一眼洞悉剧情走向、人物状态。

《藏海传》深度拥抱中式镜头美学，从意境营造的空镜头、光影，到气韵生动的运镜、动作配合，从焦点透视的打破到传统色彩美学的浸润，构造出极具东方神韵的影视奇观。它为国产电视剧创作开辟出中式美学新径，以传统文化为创意富矿，挖掘出深厚文化底蕴、独特艺术魅力；对外而言，更是一张响当当的文化名片，向世界昭示中华美学的博大精深，吸引全球目光聚焦东方影视，为文化输出、文明互鉴添砖加瓦。

参考文献 (1)宗白华. 《美学散步》[M]. 上海：上海人民出版社，1981. (2)叶朗. 《美在意象》[M]. 北京：北京联合出版公司，2015. (3)谢赫. 《古画品录》[M]. 北京：人民美术出版社，1959. (4)王强. 《“气韵生动” 在当代影视创作中的转化与应用》[J]. 《北京电影学院学报》，2020（02）. (5)[法] 加斯东・巴什拉. 《空间的诗学》[M]. 潘译海，译. 上海：上海译文出版社，2014. (6)[英] 马尔科姆・巴纳德. 《理解视觉文化的方法》[M]. 李本丙，译. 北京：中国人民大学出版社，2004. 问题： 1.本文讲了哪几个《藏海传》中中式镜头美学的运用？ 2.“气韵生动”的运用有什么作用？ 3.《藏海传》的深远意蕴通过什么来传达？我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper 长江七号 Changjiang Number 7==

==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper 金庸武侠小说鉴赏 Appreciation of Kung Fu Stories written by Jinyong ==

==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 衡阳土头碗 Hengyang Touwan==

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==
ACG Culture 二次元文化 202330092010 吴金诚 Wu Jincheng

Abstract

This article delves into the emergence and expansion of ACG culture, shedding light on its distinctive attributes and the ways in which it has captivated the interest of the youth. Through an examination of its development in China and Japan, the article underscores the cultural disparities and their ramifications for consumers. Furthermore, it explores the benefits and hurdles associated with ACG culture, offering insights into its future trajectory and the significance of fostering sustainable growth.Keywords: ACG culture, secondary dimension culture, cultural differences, challenges and opportunities, future development

1.Introduction

In the wake of the internet's swift evolution, ACG culture has materialized and swiftly permeated various facets of modern culture. ACG, an acronym for "Animation, Comic, and Game," symbolizes a unique cultural phenomenon that has garnered significant traction among the youth. In China, the ACG culture market has witnessed remarkable growth, amassing a substantial fan base. Its influence has transcended the cultural sphere, permeating broader societal dimensions. Against this backdrop, exploring the characteristics of ACG culture and its ramifications for Chinese youth becomes paramount. Additionally, juxtaposing ACG culture in China and Japan unveils its global dispersion and mutation.

2.The Current State of ACG Culture in China and Comparison with Japan

ACG culture originated in Japan and has gradually spread to China. Japan, the cradle of ACG culture, has a long history of hosting comic exhibitions and game conventions. Since the early 20th century, Japan's manga and anime industries have gradually emerged and swiftly developed post-World War II. Astro Boy by Osamu Tezuka established the foundation for Japan's anime industry. As technology advanced, the production quality of anime and manga improved, and the gaming industry rose in the 1980s. Nintendo's Super Mario and The Legend of Zelda achieved global success, further driving the development of ACG culture.

ACG culture has flourished in China, expanding into animation production, comic creation, game development, and the sale of derivative products. Backed by government policies, China's ACG industry has given rise to exceptional original works and influential IP images, such as "Ne Zha: The Rise of a Legendary Hero." ACG culture in China is tightly interwoven with internet technology, with online platforms becoming pivotal channels for disseminating ACG works, offering a space for creators and enthusiasts to interact and create.China has also witnessed the rise of offline ACG events, such as comic exhibitions and game conventions, which have become vital platforms for fans to gather and celebrate their shared interests.[[File:Comic Exhibition.jpg]]These events not only strengthen the sense of community among enthusiasts but also inject new vitality into the cultural market. The derivative products, often referred to as "gu zi" by enthusiasts due to their similarity to the English word "goods," have become an integral part of the ACG culture, with dedicated stores and exhibitions catering to this niche market.[[File:Goods.jpg]]

3.The Advantages and Challenges of ACG Culture

ACG culture offers a vast creative space that inspires creators' imagination. Through rich storylines, unique character settings, and exquisite visuals, it attracts audiences and players. It meets the demand for personalized and diverse culture among the youth, providing a unique space for entertainment and social interaction. This has given rise to a unique social culture where young people can connect with like-minded peers.

However, ACG culture faces challenges such as the potential for violent and vulgar content in some works, which may negatively impact adolescents' mental health. The ACG industry also struggles with issues like intellectual property protection, talent shortages, and fierce market competition. In China, the commercialization of ACG culture is relatively underdeveloped compared to the United States. There are gaps in brand building, market promotion, and industrial chain integration.

4.Future Prospects and Conclusion

Looking ahead, with the continuous advancement of internet technology and frequent global cultural exchanges, ACG culture is expected to have broader development prospects. China's ACG industry will enhance its original capabilities, leverage local cultural resources, and create distinctive Chinese ACG brands. ACG cultures in China and Japan will influence and learn from each other, collectively promoting the prosperity of global ACG culture.

In summary, ACG culture, as an emerging subculture phenomenon, has profoundly impacted contemporary society. It has enriched people's spiritual and cultural lives and injected new vitality into the cultural industry. To achieve sustainable growth in ACG culture, it requires the joint efforts of governments, enterprises, creators, and society. By strengthening the guidance and regulation of ACG culture, maximizing its advantages, and addressing its challenges, ACG culture can shine globally as a significant force in the cultural industry.

Terms and Expressions
• ACG Culture Secondary Dimension Culture
• Secondary Dimension 二次元
• Animation 动画
• Original Works 原创作品
• Intellectual Property Protection 知识产权保护
• Commercialization 商业化
• Cross-media Integration 跨媒体整合
• Comic Exhibition 漫展
• Goods 谷子
• Derivative Products 周边产品

Questions

1. What are the main characteristics of ACG culture? What impact has it had on Chinese youth?
2. What are the differences in the development of ACG culture between China and Japan?
3. What are the advantages and challenges of ACG culture?
4. How can the sustainable development of ACG culture be promoted?

Reference Answers

1.ACG culture is characterized by its rich storytelling, unique character settings, and exquisite visuals. It has captivated Chinese youth by offering a space for entertainment and social interaction, fostering a unique social culture where young people can connect with like-minded peers.
2. Japan is the origin of ACG culture, with a long history of comic exhibitions and game conventions. China has adopted and adapted this culture, integrating it with internet technology and creating original works that resonate with local audiences.
3. Advantages include a vast creative space, personalized and diverse culture, and a unique social culture. Challenges include potential violent and vulgar content, intellectual property protection issues, talent shortages, and market competition.
4. Sustainable development can be promoted through joint efforts of governments, enterprises, creators, and society. Strengthening guidance and regulation, maximizing advantages, and addressing challenges are key to fostering a sustainable growth environment for ACG culture.

References

[1] ACG culture - Baike Encyclopedia [EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30.
[2] Deep Exploration of the Definition and Explanation of ACG Culture - Hanlin International Education [EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26.
[3] Primary Exploration on the Differentiation of the Animation Industry Models of China, Japan and America in the Context of the Two-dimensional Culture [EB/OL]. https://www.atlantis-press.com/article/55910395.pdf.
[4]浅谈ACG文化的深层内涵与影响 - 翰林国际留学 [EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25.
[5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究 [J]. 大众文艺, 2017 (07): 255-256.

AI use

To help me with my final paper, I used the following AI chatbot: Kimi
I used the following tips:
1. I will write a paper on ACG Culture as an English textbook for the outline of Chinese culture, please list some literature that may be helpful to me for reading (before writing) and provide me with an outline
2. Please help me polish my essay (Is the language fluent?.Is the logic reasonable? Does the final paper meet the format requirements? ）
3.Please help me translate

As a result, I found the following issues:
1.The AI's reply did not distinguish the relationship between Chinese ACG culture and Japanese ACG culture
2.AI’s translation of some terms is not accurate

I made adjustments with the following:
Through my own understanding of the two-dimensional culture as a fan, and researching materials on the Internet on my own, I reviced the outline and terms trasnlation.In addition,I added content (such as Comic Exhibition, Goods) and finally completed the thesis.

二次元文化

摘要

本文探讨了二次元文化的兴起及其对现代社会的影响，介绍了其独特的特征和表现形式，分析了其在中国与日本的发展差异，并指出了二次元文化所面临的挑战与机遇。关键词：二次元文化；二次元；文化差异；挑战与机遇；未来发展

一、引言

随着互联网的迅猛发展，二次元文化应运而生，并迅速渗透到现代文化的各个层面。二次元文化是“动画（Animation）、漫画（Comic）、游戏（Game）”的缩写，作为一种独特的文化现象，它在年轻人中引起了极大的关注。在中国，二次元文化的市场规模不断扩大，吸引了众多忠实粉丝，其影响力已超越文化领域，延伸至更广泛的社会层面。在此背景下，研究二次元文化的特点及其对中国青年的影响显得尤为重要。同时，对比中日两国的二次元文化差异，可以更好地理解其在全球范围内的传播与演变。

二、二次元文化的现状与中国和日本的比较

二次元文化起源于日本，并逐渐传播到中国。日本作为二次元文化的发源地，长期以来一直举办漫画展览和游戏展。自20世纪初以来，日本的漫画和动画产业逐渐兴起，并在二战后迅速发展。手冢治虫的《铁臂阿童木》为日本动画产业奠定了基础。随着科技的进步，动画和漫画的制作质量不断提高，游戏产业在20世纪80年代崛起。任天堂的《超级马里奥》和《塞尔达传说》在全球取得了巨大成功，进一步推动了二次元文化的发展。

二次元文化在中国蓬勃发展，涵盖了动画制作、漫画创作、游戏开发以及衍生产品销售等多个领域。在政府政策的支持下，中国的二次元产业不断涌现出优秀的原创作品和具有影响力的IP形象，如《哪吒之魔童降世》。中国的二次元文化与互联网技术紧密结合，网络平台成为二次元作品传播的重要渠道，为创作者和爱好者提供了广阔的交流空间和创作平台。

中国还出现了线下二次元活动，如漫展和游戏展，这些活动已成为粉丝聚集和庆祝共同兴趣的重要平台。这些活动不仅加强了爱好者之间的社区感，还为文化市场注入了新的活力。二次元的周边产品，爱好者们常称之为“谷子”（因与英语“goods”谐音），已成为二次元文化的重要组成部分，专门的店铺和展览满足了这一细分市场的需求。

三、二次元文化的优势与挑战

二次元文化为创作者提供了广阔的创作空间和自由度，能够激发他们的想象力和创造力。无论是动画、漫画还是游戏，都可以通过丰富的故事情节、独特的角色设定和精美的画面吸引观众和玩家。同时，二次元文化能够满足年轻人对于个性化、多样化文化需求的追求，为他们提供了一个独特的娱乐和社交空间。在这个空间里，年轻人可以与志同道合的伙伴交流分享，结交朋友，甚至形成一种独特的社交文化。

然而，二次元文化也面临一些挑战。例如，部分二次元作品可能存在暴力、低俗等不良内容，对青少年的身心健康产生一定的负面影响。此外，二次元产业在发展过程中还面临着知识产权保护、人才短缺、市场竞争激烈等问题。尤其是在中国，二次元文化的商业化程度相对较低，与美国等发达国家相比，在品牌建设、市场推广和产业链整合等方面还存在一定的差距。

四、未来展望与结论

展望未来，随着互联网技术的不断进步和全球文化交流的日益频繁，二次元文化有望迎来更广阔的发展空间。一方面，中国的二次元产业将继续加强原创能力，挖掘本土文化资源，打造具有中国特色的二次元品牌；另一方面，中日等国的二次元文化将在相互交流与借鉴中不断发展，共同推动全球二次元文化的繁荣。

总之，二次元文化作为一种新兴的次文化现象，已经对当代社会产生了深远的影响。它不仅丰富了人们的精神文化生活，还为文化产业的发展注入了新的活力。然而，要实现二次元文化的可持续发展，需要政府、企业、创作者和社会各界共同努力，加强对二次元文化的引导和规范，充分发挥其优势，克服其面临的挑战，让二次元文化在全球范围内绽放更加绚烂的光彩。

术语和表达
• ACG Culture 二次元文化
• Secondary Dimension 二次元
• Animation 动画
• Original Works 原创作品
• Intellectual Property Protection 知识产权保护
• Commercialization 商业化
• Cross-media Integration 跨媒体整合
• Comic Exhibition 漫展
• Goods 谷子
• Derivative Products 周边产品

问题

1. 二次元文化的主要特点是什么？它对中国青年产生了什么影响？
2. 中国的二次元文化与日本的二次元文化在发展上有什么不同？
3. 二次元文化的优势和挑战是什么？
4. 如何促进二次元文化的可持续发展？

参考答案

1．二次元文化的主要特征包括丰富的故事情节、独特的角色设定和精美的视觉效果。它通过提供娱乐和社交的空间，吸引了中国青年，并促进了志同道合的年轻人之间的交流，形成了独特的社交文化。
2. 日本是二次元文化的发源地，有着悠久的漫画展览和游戏展的历史。中国则在引进这一文化的基础上进行了本土化的适应和发展，将其与互联网技术相结合，并创作出了符合本土观众口味的原创作品。
3. 二次元文化的优势在于它为创作者提供了广阔的创作空间，满足了年轻人对个性化和多样化文化的需求，并形成了独特的社交文化。面临的挑战包括可能存在的暴力和低俗内容、知识产权保护问题、人才短缺和市场竞争。
4. 要促进二次元文化的可持续发展，需要政府、企业、创作者和社会各界的共同努力。加强引导和规范，充分发挥其优势，并克服面临的挑战，是为二次元文化创造可持续发展环境的关键。

参考文献

[1] ACG文化 - 百度百科[EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30.
[2] 深入探讨ACG文化的定义与解释 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26.
[3] 二维文化视角下中日美动画产业模式差异的初步探讨[EB/OL]. https://www.atlantis-press.com/article/55910395.pdf.
[4] 浅谈ACG文化的深层内涵与影响 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25.
[5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究[J]. 大众文艺, 2017 (07): 255-256.

AI使用

为了帮助我完成期末论文，我使用了以下AI聊天机器人：Kimi
我使用了以下提示：
1.我将写一篇有关ACG Culture（二次元文化）的论文作为中国文化概要的英语教材，请列举一些可能对我有帮助的文献以供阅读（撰写之前），并为我提供大纲
2.请帮助我对我的文章进行润色（语言是否通顺？逻辑是否合理？是否满足论文格式要求？）
3.请帮助我完成翻译

结果我发现了以下问题：
1.AI的回复并未能够很好的分清中国二次元文化与日本二次元文化的关系
2.AI对部分术语的翻译不够准确
我通过以下措施进行了调整：
通过我自己作为粉丝对二次元文化的了解，并自行在网上搜集资料，重新修改了大纲和术语翻译，并添加了内容（如漫展，谷子）最后完成了论文

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper 蔡国强 Cai Guoqiang,a Chinese artist==

==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper 中国的拉郎现象：圣黛CP（孙悟空×林黛玉）The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple==

'''The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple'''

Ⅰ Introduction

The phenomenon of "Lalang CP" is a subcultural practice rooted in the concept of "CP." Firstly, "CP" originates from the English term "Coupling," initially used in Japanese ACGN (Animation, Comics, Games, Novels) fandoms, meaning "couple" or "paired characters." Secondly, the term "Lalang" means forcibly pairing two unrelated characters, derived from Chinese folk language (Wu Ennan, 2023, 1). Platforms such as Bilibili, known for fan culture, have seen unconventional pairings like Lin Daiyu × Voldemort, Lazy Goat × Ulanara Yixiu, and Lin Daiyu × Sun Wukong. This paper focuses specifically on the "St. Dai CP," combining Sun Wukong from "Journey to the West" with Lin Daiyu from "Dream of the Red Chamber," which represents a significant example of Lalang subculture. The analysis will examine the origins and development of this pairing, reasons behind its explosive popularity, and its cultural impacts.

Ⅱ Origin and Development of St. Dai CP

Lin Daiyu’s earliest Lalang pairing was not with Sun Wukong but rather Voldemort from Western literature. In 2011, after losing a bet, a writer composed a fanfiction story pairing Voldemort and Lin Daiyu titled "From Far Away, For You, the Burial of Flowers." In this story, Voldemort's soul traveled to Lin's mansion, sparking a dramatic cross-cultural romance. The narrative concluded tragically, with Voldemort sacrificing himself to briefly prolong Lin Daiyu’s life. The poignant sentiment, "You wandered the mortal world for thousands of years, only to let me glimpse you one last time," resonated profoundly, symbolizing an East-West fusion reminiscent of the tragic romance in "The Peony Pavilion."

This humorous yet touching scenario sparked criticism of Jia Baoyu’s reliability, prompting internet users to suggest better partners for Lin Daiyu from other literary works. On September 18, 2020, Bilibili content creator "Zixu" launched a video pairing Sun Wukong and Lin Daiyu titled "Marriage of Classics | Buddha Saves Everyone Except Me, I'd Rather Betray Buddha Than You." By 2022, it garnered 8.061 million views, recognized as one of Bilibili’s "85 Must-Watch Videos," and was celebrated as an iconic work of the Lalang genre. The video led to numerous fan creations and a substantial fanbase for "St. Dai," though it was later removed for unspecified reasons.

[[File:AExample.jpg]]

[[File:1Example.jpg]]

Since 2020, the "St. Dai" CP has sustained considerable popularity, accumulating over 1.2 billion views on Weibo. Liu Xiao Ling Tong, the actor who portrayed Sun Wukong in the 1986 "Journey to the West" TV series, publicly endorsed the pairing for its creativity, prompting an additional 87,000 related fan-made videos within one week. On June 5, 2025, Douyin, China’s largest streaming platform, saw another viral short video featuring the "St. Dai" CP, accumulating over 2.5 million likes and more than 140,000 comments within five days.

[[File:003.jpg]]

Ⅲ Reasons for the Explosive Popularity of St. Dai CP

Character Appeal
Firstly, the appeal stems from the contrasting personalities of the characters. Sun Wukong is a powerful and straightforward warrior, known as the "Victorious Fighting Buddha," whereas Lin Daiyu is the delicate and emotionally introspective "Fairy of Xiao Xiang." This pairing, characterized as a straightforward man paired with a sensitive woman, resonates strongly. Sun Wukong’s unwavering sincerity alleviates Lin Daiyu’s habitual melancholy. In popular clips, when Daiyu cries, Sun Wukong boldly intervenes: "Don't cry! Just tell me what's wrong. Master, I can’t bear seeing someone cry. If she's wronged, I'll sort it out!" Sun Wukong thus emerges as a better emotional partner than Jia Baoyu. Additionally, Daiyu’s fragile health contrasts with Sun Wukong’s strength and magical abilities, enabling him to protect and care for her, even defying death by removing her name from the Book of Life and Death. Their pairing is perceived as fitting due to their comparable iconic status—Sun Wukong as the quintessential male protagonist and Lin Daiyu as the archetypal female protagonist in classical Chinese literature, highlighting their compatibility.The evolution of character interpretation reflects the spirit of the era and embodies the collective emotional structure in a time of social transformation (Sun Ping 2020, 1).

Breaking the Sanctity of Classics
Contemporary youth actively reinterpret classical texts, innovating creatively and integrating tradition into modern life in novel ways. This unconventional pairing satisfies curiosity and symbolizes the classic "grass and stone" affinity—Lin Daiyu as the Crimson Pearl Flower spirit and Sun Wukong as the stone used to mend the heavens. Fans humorously speculate Lin Daiyu might have originally mistaken her destined stone. Importantly, creators maintain integrity by carefully recontextualizing original dialogues without distorting Sun Wukong’s noble character or Lin Daiyu’s intelligent melancholy.

[[File:004.jpg]]

Emotional Projection and Compensation
The popularity of "St. Dai CP" reflects modern youth’s emotional needs. Fan fiction frequently serves as a psychological outlet, compensating for deficiencies in real-life relationships. “However, beyond practicality, writing fanfiction is also a helpful way for people to understand their inner emotions, whether positive or negative…” (Aynur Akpinar 2006, 23).Sun Wukong’s unconditional devotion symbolizes ideal romantic relationships desired by contemporary audiences. This psychological mechanism parallels Japan’s Otome culture, wherein virtual relationships fulfill emotional needs unmet by reality.

Platform Catalysis
In recent years, with the increasing integration of literature, film, and online media, the cross-media dissemination and widespread popularity of literary classics have become a significant phenomenon. This trend continues to give rise to new artistic forms while also bringing classic literary works to a broader audience, revitalizing them with renewed vitality (Zhang & Hong 2025, 1). Digital platforms like Douyin and Bilibili, with their massive user bases and powerful dissemination capabilities, use algorithm-based recommendations tailored to user interests to rapidly present St. Dai CP content to potential viewers, accelerating its spread. These platforms also offer rich interactive features such as comments, bullet screens, and likes, fostering a community atmosphere that encourages communication and sharing among users. This transforms viewers from passive consumers into active participants in dissemination, with user-driven discussion and derivative creations further boosting the topic's visibility and triggering viral spread.

Ⅳ Impact of the St. Dai CP Phenomenon

Positive Effects
The "St. Dai CP" significantly enhances young audiences’engagement with classical literature. Entertaining reinterpretations provoke renewed interest in "Journey to the West" and "Dream of the Red Chamber," broadening creative boundaries and attracting commercial investment due to its popularity.

Potential Controversies and Reflection
Some scholars criticize the simplification of Sun Wukong’s rebellious spirit into a mere romantic protector and the reconfiguration of Lin Daiyu’s poetic tragedy into a damsel-in-distress narrative. Literary critic Li Jingze (2023) argues such reinterpretations diminish the core themes of rebellion against authority embedded in the original texts. This debate reflects broader tensions between "disenchanting classics" and "guarding cultural memory" in the digital era. Successful reinterpretations must balance innovation with fidelity to original narratives, avoiding reckless distortions.

Ⅴ Conclusion

In the digital age, the artistic subjects we encounter no longer exist solely in tangible physical spaces, but are also increasingly active and comprehensible to the public within digital networks and social platforms (Sean Lowry 2024, 1). Creative reinterpretations like "St. Dai CP" reflect young people's innovative approaches to classic narratives. While digital platforms play a crucial role in popularizing such trends, maintaining a respectful balance between innovation and authenticity is essential for preserving and revitalizing traditional cultural works.

Terms and Expressions

拉郎CP Lalang CP
同人小说 Fan fiction
跨次元组合 Cross-dimensional combination
角色形象 Character image
经典文化 Classical culture
情感投射 Emotional projection
二次创作 Secondary creation
平台算法 Platform algorithm

Question

1. What does "Lalang CP" mean?
2. Why are Sun Wukong and Lin Daiyu popular among netizens?
3. Which platform initially popularized the "St. Dai CP"?
4. From which two classic literary works do Sun Wukong and Lin Daiyu come?
5. What are generally considered the positive effects of the popularity of "St. Dai CP"?

References

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98.
[2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022.
[3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197.
[4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214.
[5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82.
[6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

中国的拉郎现象：圣黛CP（孙悟空×林黛玉）

一、引言

“拉郎CP”是根植于“CP”理念的“拉郞”亚文化实践。首先，CP一词源自于英文“Coupling”,最早运用于日本ACGN(动画漫画、游戏、小说)同人文化圈之中，意指“情侣”或“配成的一对”。其次，“拉郎”的含义是“拉郞配”,其名词来源于中国民间的俗语，指将本没有任何相关关系的人物强行配对(Wu Ennan 2023，1)。以同人文化的阵地B站为例，林黛玉X伏地魔、懒羊羊X乌拉那拉宜修、林黛玉X孙悟空等别具一格的CP层出不穷。而本文所讲述的“圣黛CP”则是《西游记》中的孙悟空与《红楼梦》中林黛玉的组合，该cp是拉郎文化中的代表性。接下来，笔者将具体阐述该cp的起源与发展，爆火原因，以及影响，从这三个层面进行分析。

二、圣黛CP的起源与发展

林黛玉最早的拉郎cp其实并不是孙悟空，而是来自西方伏地魔。2011年，一位文手与朋友打赌输了，抽签抽到写一篇伏地魔×林黛玉的同人文，于是便出现了伏黛的开山之作《来自远方为你葬花》。故事的开头是伏地魔灵魂穿越到遥远的林府之中，两人惊鸿一瞥，一见倾心。故事的结局是伏地魔强行给黛玉续命，最后灰飞烟灭。“你在尘世中辗转了千百年，却只让我看你最后一眼。”两人穿越时间与空间的苦恋，逆天而行却不得而终，堪称中西合璧的悲剧版《牡丹亭》。

这次玩笑，让网友们吐槽宝玉的不牢靠，纷纷开始跨作品为林妹妹物色更好的爱人。于是在2020年9月18日，由b站UP主“自叙”推出的“孙悟空×林黛玉《名著联姻|佛度众生不度我宁负如来不负卿》二创视频横空出世，2022年的浏览量便已达到806.1万，被收录于B站“入站必刷85大视频”，荣获“名著拉郎CP代表作品”成就，由此衍生出大量二创剪辑与“圣黛”粉丝。（后该作品由于不明原因下架）

从2020年后“圣黛”cp话题热度居高不下，微博话题阅读量超 12 亿，86 版《西游记》孙悟空扮演者六小龄童受访时对圣黛 CP 表示认可，称其有创意，该表态使得《西游记》相关二创视频一周新增 8.7 万条。
抖音是国内最大的流媒体平台，2025年6月5日抖音又爆了一条关于圣黛cp的短视频。截止到今日（2025.6.10）为止，该视频点赞量5天内破250万，评论数量超14万。

三、圣黛CP爆火原因

1.角色本身的吸引力
首先是性格的反差萌。孙悟空是武力值超高的“斗战胜佛” ，林黛玉是多愁善感的“潇湘妃子”，直球男x内耗女的设定，而面对悟空的赤诚专一，林妹妹终于不用以泪洗面，黛玉哭泣时，孙悟空会说：“你别哭了，有什么事赶紧说啊。师父，我最见不得人家哭了。她要是有什么不平事，尽管说出来，俺老孙替她做主。”在“圣黛CP”的视频中，孙悟空比贾宝玉更能接住林黛玉的种种小情绪。其次，黛玉体弱，而法力高强的孙悟空可以保护身体虚弱的她，也可以为她向太上老君寻药治病。流传在短视频上的“圣黛cp”剪辑片段中，黛玉即将离世，活不过第二天，孙悟空为此怒闯阎罗殿，在生死簿划掉林黛玉的名字。身份上，两人番位一致，就像网友所言，“孙悟空是四大名著第一男主，林妹妹是四大名著第一女主，这怎么不算门当户对呢？”孙悟空和林黛玉的角色形象被重新挖掘，重新探索，他们细致的人格得以被看见。对形象解读流变是时代的鉴照，是时代变革中集体情感结构的体现（Sun Ping 2020,1)。

2.经典神圣性的打破
当代年轻人对经典文化有着全新的态度。他们不再被动接受经典，而是主动解构、创新，通过二次创作赋予经典新的生命力。跨次元的组合既满足了年轻人的猎奇心理，也让传统文化以更轻松的方式融入现代生活。原本的木石情缘，就像网友说的，林黛玉是绛珠仙草，而孙悟空则是补天遗石的化身，这种一草一石，这何尝又不是一种“木石情缘”，“林妹妹当时一定是认错了石头”。二创作者并未扭曲孙悟空“已识乾坤大，犹怜草木青”的豁达襟怀，也没改变林黛玉“心较比干多一窍，病如西子胜三分”的聪慧沉郁，而是通过影视片段剪辑，让两者的台词自然契合。这是在熟读经典上的巧妙改编，而非乱编，胡编。

3.情感投射与代偿心理：
圣黛 CP 的流行反映了青年通过同人创作缓解现实压力的需求。粉丝常通过虚构关系弥补现实情感缺失，圣黛 CP 中孙悟空对黛玉的无条件守护，恰是现代青年对 “理想亲密关系” 的投射。“然而，除了实用性之外，撰写同人小说也是帮助人们理解内心情感的好方法，无论是积极的还是消极的……”(Aynur Akpinar 2006，23)现代快节奏且充满压力的生活中，许多人经常感到孤独和无助，内心深处渴望找到一种能够互补、带来温暖和庇护的亲密关系。而这种心理机制与日本 “乙女文化” 中对虚拟男性角色的情感寄托具有跨文化一致性。

4.平台的催化作用：
近年来，随着文学与影视、网络媒介的相互介入，文学经典的跨媒介传播与破圈发展已经成为一个显著现象，在不断催生新的文艺形态的同时，也促使文学经典作品走向更为广泛的受众群体，焕发出蓬勃的生命力。(Zhang&Hong 2025，1)抖音、B 站等平台拥有庞大用户群体与强大传播力，算法推荐机制依据用户兴趣精准推送，能迅速将圣黛 CP 相关内容呈现在潜在受众眼前，加速其传播扩散。平台上丰富的互动形式，如弹幕、评论、点赞等，构建起用户间交流分享的社区氛围，让受众从单纯观看者转变为传播参与者，用户自发讨论、二创衍生进一步推动话题热度攀升，形成传播裂变效应。

四、圣黛CP现象的影响

1.积极影响
首先对经典文学传播有相当大的积极作用，圣黛 CP 以娱乐化形式激发年轻群体对《西游记》《红楼梦》的兴趣，如 B 站二创视频带动原著相关搜索量，以娱乐化形式引发年轻群体对《西游记》《红楼梦》的兴趣，同人创作也推动经典文本的二次解读与文化出圈。其次，它拓宽拉郎创作的边界，也推动商业资本对热门CP的关注与潜在开发。

2.潜在争议与反思：
圣黛 CP 中孙悟空 “斗战胜佛” 的神性被简化为 “护妻狂魔”，林黛玉的诗性悲情被重构为 “被拯救者”，这种改编引发学界对经典角色符号价值的争议。文艺批评家李敬泽（2023）指出，二创将孙悟空的叛逆精神降维为 “恋爱脑”，实质是对原著 “反抗权威” 内核的消解。这种争议本质上是数字时代 “经典祛魅” 与 “文化记忆守护” 的博弈。拥有生命力的创意改编无不实现传统与创新的平衡。经典的传承不必墨守成规地照搬原典，但更不能枉顾原著精神地胡编滥造，而是要怀着敬畏之心，深挖原著内核后以现代语言重新书写。

五、结论

基于数字时代，我们所面临的艺术对象不仅存在于某种有形的物质空间，而且还在网络空间和社交平台上日趋活跃并逐渐为大众所理解和接受。(Sean Lowry 2024，1)圣黛CP的爆火，是年轻人用跨次元拉郎重构经典的文化实验。从B站二创到抖音传播，平台算法与用户创作共同推动这对CP破圈，既满足了现代青年对理想爱情的情感寄托，也让《西游记》《红楼梦》以更轻松的方式走近大众。这种创新改编在娱乐中激活了经典生命力，但也需在创意与原著精神间找到平衡，让传统文化真正实现年轻化传承。

双语

拉郎CP Lalang CP
同人小说 Fan fiction
跨次元组合 Cross-dimensional combination
角色形象 Character image
经典文化 Classical culture
情感投射 Emotional projection
二次创作 Secondary creation
平台算法 Platform algorithm

问题

1. “拉郎CP”的含义是什么？
2. 孙悟空与林黛玉为何会受到网友欢迎？
3. 是哪个平台最初推动了“圣黛CP”的火爆？
4. 孙悟空和林黛玉各自来自哪两本经典名著？
5. 一般认为“圣黛CP”的流行有哪些积极影响？

文献

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98.
[2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022.
[3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197.
[4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214.
[5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82.
[6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper 魅力城头山 Charming Chengtoushan==

==https://bou.de/u/wiki/User:Zhou_Zhengyuan#Final_Paper 滕王阁 Tengwang Pavilion ==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper 扬州炒饭 Yangzhou Fried Rice==

==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper 中国井盐 Chinese Well Salt==

202330092156 鲁盈馨 Lu Yingxin

Chinese Well Salt
Abstract: Salt, an indispensable non-metallic mineral resource, has been both an industrial foundation and daily essential. In Chinese culture, it ranks among "firewood, rice, oil, salt, sauce, vinegar, and tea". As the "pinnacle of flavors", it was extracted from seas, lakes, wells and mines, with well salt production showcasing ancient Chinese artisans' wisdom in drilling and brine utilization.

Key words: Well Salt Drilling Brine Extraction Brine Transportation Brine Lifting

Salt: The Quintessential Mineral Resource

[[File:Salt.jpg]]

Salt, the most universally utilized non-metallic mineral resource, serves as both an industrial cornerstone and a daily necessity. In the Chinese proverb "firewood, rice, oil, salt, sauce, vinegar, and tea," the term "salt" specifically refers to table salt, a ubiquitous mineral compound. Hailed as the "pinnacle of flavors," salt has been a crucial condiment since antiquity. Humans early on discovered that table salt could be extracted from seas, salt lakes, salt wells, and salt mines. Occasionally, when groundwater or subterranean rivers traverse salt deposits, the water becomes saturated with salt, forming natural brine. By digging wells to collect this brine, ancient peoples pioneered salt extraction. Well salt, defined as salt produced by pumping underground brine (either naturally formed or generated by salt mine ), is extracted from vertical shafts known as salt wells.

The Ingenuity of Well Salt Production
Among ancient salt-making techniques, well salt production stood out for its complexity, embodying the ingenuity of ancient Chinese artisans. The technology evolved over millennia: as early as the late Warring States Period (475–221 BCE), Li Bing, Governor of Shu County, initiated salt well digging in the Chengdu Plain to extract brine for evaporation. Early wells featured large diameters, unstable walls without reinforcement, and shallow depths, limiting extraction to superficial brine. By the mid-Northern Song Dynasty (960–1127), Zhuotong Wells emerged in southern Sichuan—these narrow-bore deep wells utilized a "one-character shaped" drill bit to crush rock via impact. Water was injected or harnessed to flush cuttings, which were extracted with bamboo tubes. With a well diameter no larger than a bowl, Zhuotong Wells minimized collapse risks. Craftsmen further reinforced wells by sinking casings made from jointed nanzhu bamboo poles, wrapped in hemp ropes and sealed with oil putty to prevent wall collapse and freshwater infiltration. Brine extraction employed slender bamboo tubes fitted with a check valve of cured leather at the base, each capable of holding several dou (a traditional unit) of brine. Above the well, a massive wooden frame supported a windlass-pulley system for lifting brine.The advent of Zhuotong Wells marked the maturity of ancient China’s deep-well drilling technology. Well depths continued to increase, culminating in 1835 during the Qing Dynasty’s Daoguang reign, when the Shenhai Well in Zigong, Sichuan, became the world’s first well exceeding 1,000 meters.

Drilling: The Foundation of Well Salt Production

[[File:Salt Well.jpg]]

Unlike sea salt or lake salt, well salt lies buried underground, making drilling technology decisive. In the late Warring States Period, artisans dug large-mouthed shallow wells by manual labor to access shallow brine. The Northern Song Dynasty revolutionized drilling with the "impact percussion method," where workers operated treadles to drive drill bits in vertical strokes, breaking rock to deepen wells. The process included site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—technologically akin to modern oil and gas extraction. This method pioneered mechanical drilling, enabling exploitation of deep brine reserves. By 1835, the Shenhai Well, excavated via this technique, symbolized the zenith of ancient drilling proficiency. Renowned for its compact footprint, low cost, and high efficiency, the impact method remains in use today.

Brine Extraction: From Well to Surface

[[File:Well Salt Production.jpg]]

Early brine extraction mirrored well-water drawing, but post-Song Dynasty innovations introduced the brine-extracting tube: a node-removed bamboo cylinder smaller than the well bore, fitted with a cured cowhide check valve. Lowered to the well bottom, the valve opened to admit brine; when lifted, internal pressure sealed the valve, trapping the brine. Equipped with fixed pulleys and a brine rope, the Tianche harnessed oxen to operate the lifting system.
Brine Transportation: Overcoming Distance
Initially, brine was transported short distances to nearby salt stoves. As the industry advanced, a need arose to transport brine to natural gas fields—thus the "relocate brine for evaporation" strategy drove technological innovation. The ancients devised bamboo pipelines (Zhujian) and brine storage pits (Jianwo) for long-distance transport. Zhujian consisted of hollowed bamboo tubes bound with strips and sealed with putty, connected to form pipelines that used pressure difference and communicating vessels to carry brine 5–10 kilometers. Unable to make sharp turns, Zhujian relied on Jianwo—bamboo-wood storage containers that redirected flow, reduced pipeline pressure, settled impurities, and cleared blockages.

Brine Lifting: Conquering Terrain

[[File:Brine Lifting.jpg]]

Where terrain caused pipeline inlets to sit lower than outlets, brine lifting stations emerged to increase hydraulic head. These stations housed well carts driven by mules or horses, which vertically lifted brine to overcome elevation gaps, enabling cross-mountain transport and resolving the brine-fuel spatial mismatch.

Brine Concentration: Enhancing Efficiency
To increase brine salinity, lifting stations delivered brine to elevated Zhitiaojia (branch frame) concentration towers—sunlight- and wind-exposed platforms that evaporated water, concentrated brine, reduced fuel use, and purified salt. Optimal evaporation required constructing towers in high, open, sunlit locations.

Brine Boiling: The Final Transformation
Historically termed "boiling," "frying," or "stewing," well salt production culminated in evaporation. Brine was transported to natural gas-fed salt kitchens, where fuel-efficient evaporation yielded crystalline salt.

Ancient China’s complete drilling and salt-making system made profound contributions to human civilization and global science. Introduced to Europe, these technologies fueled mineral exploration worldwide, advancing drilling techniques and subterranean resource exploitation.

Terms and expression
1.Well salt
Well salt refers to the salt extracted from salt wells, produced by pumping underground brine (naturally formed or generated by salt mines) and processing it through evaporation and other techniques.

2.Zhuotong Wells
Zhuotong Wells were narrow-bore deep wells that emerged in southern Sichuan during the mid-Northern Song Dynasty. They used a "one-character shaped" drill bit to crush rocks via the impact method, marking the maturity of ancient deep-drilling technology.

3.Impact percussion method
The Impact percussion method was an innovative drilling technology in the Northern Song Dynasty. It involved workers operating treadles to drive drill bits in vertical strokes, smashing rocks to deepen wells, similar to modern oil and gas extraction techniques.

4.Shenhai Well
Completed in Zigong, Sichuan in 1835 (during the Daoguang reign of the Qing Dynasty), Shenhai Well was the world’s first salt well exceeding 1,000 meters, symbolizing the pinnacle of ancient drilling technology.

5.Brine-extracting tube
The Brine-extracting tube was a bamboo device used for brine extraction after the Song Dynasty. Fitted with a cowhide check valve at the base, it opened to absorb brine when lowered and sealed to trap brine when lifted.

6.Zhujian
Zhujian were ancient bamboo pipelines for brine transportation. Using the principle of pressure difference and communicating vessels, they could extend 5–10 kilometers and required coordination with brine storage pits (Jianwo).

7.Jianwo
Jianwo were bamboo-wood storage containers for brine, used to transfer brine, reduce pipeline pressure, settle impurities, and clear blockages, assisting Zhujian in long-distance transportation.

8.Zhitiaojia
Zhitiaojia, or brine concentration towers, were open-air platforms built at high altitudes. They utilized sunlight and wind to evaporate water, concentrate brine, reduce fuel consumption during salt boiling, and purify salt.

9.Tianche
Tianche was a mechanical device for lifting brine in well salt production. Composed of fixed pulleys and brine ropes, it harnessed oxen to drive the pulley system for brine extraction.

10. "Relocate brine for evaporation" strategy
The "relocate brine for evaporation" strategy referred to transporting brine to natural gas production areas for salt evaporation, resolving the spatial mismatch between brine and fuel, and promoting innovation in brine transportation technology.

Questions
1.What was the significance of Zhuotong Wells in the history of ancient Chinese well salt production?
The Zhuotong Wells, emerging in mid-Northern Song Dynasty (960–1127) in southern Sichuan, marked a pivotal advancement in ancient Chinese well salt production. They introduced narrow-bore deep drilling with a "one-character shaped" drill bit, using impact percussion to crush rock. This technique minimized well collapse risks by reducing the bore diameter to bowl-sized dimensions and reinforcing walls with nanzhu bamboo casings sealed by hemp ropes and oil putty. The innovation of bamboo brine-extracting tubes with leather check valves, coupled with windlass-pulley systems, enabled efficient deep brine extraction. Zhuotong Wells pioneered the world’s earliest deep-well drilling technology, laying the foundation for subsequent advancements, such as the Shenhai Well’s 1,000-meter depth in the Qing Dynasty.

2.How did the "Impact percussion method" revolutionize well drilling technology during the Northern Song Dynasty?
The Northern Song’s "Impact percussion method" transformed drilling by introducing mechanical vertical strokes. Workers operated treadles to drive drill bits, breaking rock layer by layer to deepen wells. The process included systematic steps: site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—paralleling modern oil and gas extraction techniques. This method replaced manual shallow digging with mechanical efficiency, enabling access to deep brine reserves. It pioneered the use of drill bits for rock fragmentation, reducing labor intensity and increasing well depth feasibility. By 1835, this technique culminated in the Shenhai Well, demonstrating its legacy in advancing subterranean exploration.

3.What is the structural design of the "Brine-extracting tube," and how does it function to collect brine?
The brine-extracting tube was a bamboo cylinder with nodes removed, smaller than the well bore. At its base, a cured cowhide check valve was installed. When lowered to the well bottom, the valve opened due to water pressure, allowing brine to enter. As the tube was lifted, internal brine pressure pushed the leather valve shut, trapping the brine inside. This design leveraged hydrostatic pressure and one-way flow, enabling efficient brine collection. Paired with fixed pulleys and brine ropes, the system (e.g., Tianche) used oxen to operate the lifting mechanism, streamlining the extraction process.

4.How did the ancient Chinese use Zhujian and Jianwo to transport brine over long distances?
Zhujian (bamboo pipelines) were hollow bamboo tubes bound with strips and sealed with putty, forming continuous pipelines. Using pressure difference and communicating vessels, they transported brine 5–10 kilometers. Due to inflexibility, Jianwo (brine storage pits)—bamboo-wood containers—were built to redirect flow, reduce pipeline pressure, settle impurities, and clear blockages. Jianwo acted as intermediate stations, balancing hydraulic pressure and ensuring steady flow. Together, Zhujian and Jianwo overcame topographical barriers, enabling brine transport from wells to natural gas fields for evaporation.

5.What was the purpose of the "relocate brine for evaporation" strategy in well salt production?
The "relocate brine for evaporation" strategy aimed to solve the spatial mismatch between brine sources and fuel (natural gas) fields. By transporting brine to areas with abundant natural gas, producers optimized energy use, reducing the need to transport heavy fuel to remote wells. This strategy enhanced efficiency by centralizing evaporation at gas-rich sites, minimizing labor and material costs. It also facilitated large-scale production, as natural gas provided a more stable and powerful fuel source than traditional firewood, improving salt yield and quality.

6.Why is the Shenhai Well in Zigong considered a milestone in ancient drilling technology?
The Shenhai Well in Zigong, completed in 1835 during the Qing Dynasty, became the world’s first well exceeding 1,000 meters (1,001.42 meters). Drilled using the Northern Song’s impact percussion method, it demonstrated the pinnacle of ancient deep-well technology. Its depth surpassed contemporary global standards, showcasing China’s advanced drilling proficiency. The well integrated innovations like bamboo casing, brine-extracting tubes, and pulley systems, embodying the culmination of millennia of technological refinement. Its legacy influenced later mineral exploration, as its techniques were introduced to Europe, advancing global drilling and subterranean resource exploitation.

References
[1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46.
[2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23.
[3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35.
[4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006.
[5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020.

中国井盐

引言：盐，这种不可或缺的非金属矿产资源，既是工业基石，也是日常生活的必需品。在中国文化中，它位列 “柴米油盐酱醋茶” 之中。作为 “百味之祖”，人类早年便从海洋、湖泊、盐井和盐矿中提取食盐，而井盐生产则彰显了中国古代工匠在钻井技术与卤水利用方面的智慧。

关键词：井盐、钻井、卤水抽取、卤水输送、卤水提升

盐：不可或缺的矿物资源
盐，作为全球应用最广泛的非金属矿物资源，既是工业基石，也是日常生活的必需品。中国谚语 “柴米油盐酱醋茶” 中的 “盐” 特指食盐，一种无处不在的矿物化合物。盐被誉为 “百味之冠”，自古以来便是重要的调味品。人类很早就发现，食盐可从海洋、盐湖、盐井和盐矿中提取。当地下水或地下暗河穿过盐矿时，水体因充分溶解盐分而形成天然卤水，古人通过挖井收集卤水，开创了食盐开采的先河。井盐即通过凿井抽取地下卤水（天然形成或盐矿注水后生成）制成的盐，而用于生产井盐的竖井被称为盐井。

井盐制作中的东方智慧
在古代制盐工艺中，井盐生产以其复杂性独树一帜，彰显了中国古代工匠的卓绝智慧。这一技术历经千年演进：早在战国晚期（公元前 475-221 年），秦国蜀郡太守李冰便在成都平原开凿盐井，汲卤煎盐。早期盐井口径较大，井壁缺乏加固且易坍塌，加之深度有限，只能开采浅层卤水。北宋中期（960-1127 年），川南地区出现了卓筒井 —— 这种小口深井采用 “一字型” 钻头冲击破碎岩石，借助注水或地下水力，以竹筒汲出岩屑与水。卓筒井口径仅碗口大小，极大降低了井壁坍塌风险。工匠们还将大楠竹去节套接，外缠麻绳并涂以油灰，沉入井中作为套管，防止井壁塌陷与淡水渗入。取卤时使用细竹制成的汲卤筒，筒底以熟皮为启闭阀门，单筒可汲卤数斗，井上竖大木架，通过辘轳与滑轮系统提升卤水。卓筒井的出现标志着中国古代深井钻凿技术的成熟。此后盐井深度持续增加，直至清道光十五年（1835 年），四川自贡盐区钻出燊海井，成为当时世界上第一口深度超千米的深井。

钻井：井盐生产的根基
有井才有盐 —— 不同于溶于水体的海盐与湖盐，井盐埋藏于地下，钻井技术因此成为生产的关键。战国晚期，先民已通过人力挖掘大口浅井获取浅层卤水。北宋时期发明的 “冲击式凿井法”，通过人工踩踏碓梢使钻头在井内做垂直往复运动，冲击井底岩石以加深井身。其工序包括定井位、开井口、下石圈、凿大口、下木柱、凿小眼等，与现代油气开采技术原理相通。这一方法将钻井技术从人工挖掘推向机械钻探，开创了人类机械钻井的先河，使深层卤水资源的开发成为可能。历经不断完善，1835 年采用该法开凿的燊海井以超千米深度，标志着中国古代钻井技术的巅峰。冲击式凿井法因占地小、成本低、效率高等优势沿用至今。

汲卤：从井下到地表的输送
早期卤水煎盐与普通水井提水无异，但宋代以后，随着冲击式凿井法的应用，汲卤筒应运而生。这种小于井径的去节竹筒，底部装有熟牛皮制成的单向阀。将汲卤筒沉入井底时，卤水冲开阀门入筒；提升时筒内卤水压力使阀门闭合，从而完成汲卤。提卤动力源自 “天车”—— 井口上方由数百根轻质耐腐杉木捆扎而成的百米木架，天车上下安装定滑轮，通过汲卤绳连接，以牛力牵引提卤。

输卤：跨越地理的智慧
早期井盐多在井旁设灶煎煮，卤水运距极短且技术简单。随着盐业发展，出现了卤水资源丰富区与天然气产区分离的矛盾，“移卤就煎” 的需求推动输卤技术革新。古人以竹笕与笕窝实现卤水长距离输送：竹笕是打通竹节的输卤管道，外以篾条或棕绳捆扎并涂油灰增强强度，多节竹笕首尾相连，利用压差与连通器原理将卤水输送至 5-10 公里外的天然气产区。因竹笕无法急转弯，又发明了由竹管与木板制成的笕窝 —— 这种卤水储存容器既能转换输卤方向、缓解管道压力，又可沉淀杂质、疏通管道。

提卤：征服地形的高差
输卤过程中，若管道入口低于出口，需通过 “提卤站” 提升水位以形成压差动力。提卤站内设井车，以骡马驱动将卤水从低处垂直提升至高处，实现卤水翻山越岭的远距离输送，彻底解决了卤源与燃料的空间矛盾。

浓卤：蒸发工艺的精进
为提高卤水浓度，提卤站将卤水输送至晾晒场高架的枝条架浓卤塔（晒卤台），借助风力与太阳能蒸发水分，达到浓缩卤水、节约燃料、净化卤质、提升盐品的目的。为优化蒸发效率，浓卤塔多建于地势高敞、光照充足处。

煎卤：结晶成盐的终章
历史上井盐制作被称为 “煮盐”“煎盐” 或 “熬盐”，恰如其分地体现了蒸发制盐的工艺本质。卤水被输送至天然气产区的灶房，以天然气为燃料熬煮，最终结晶成盐。
中国古代完整的钻井与制盐技术体系，为人类文明与世界科学进步作出了深远贡献。这一技术传入欧洲后，在全球矿产勘探中广泛应用，有力推动了世界钻井技术发展与地下资源开发。

术语表达
1. Well salt
井盐，指通过抽取地下卤水（天然形成或盐矿产生）并经蒸发等工艺制成的盐，从盐井中提取。
2. Zhuotong Wells
卓筒井，北宋中期在四川南部出现的窄口径深井，采用 “一字型” 钻头通过冲击法破碎岩石，是古代深钻技术成熟的标志。
3. Impact percussion method
冲击钻探法，北宋时期革新的钻井技术，通过工人踩踏踏板驱动钻头垂直冲击岩石，加深井深，类似于现代油气开采技术。
4. Shenhai Well
燊海井，1835 年（清道光年间）在四川自贡建成，是世界上第一口深度超过 1000 米的盐井，象征古代钻井技术的巅峰。
5. Brine-extracting tube
汲卤筒，宋代以后用于提取卤水的竹筒装置，底部装有牛皮止回阀，下放时阀门打开吸入卤水，提升时密封卤水。
6. Zhujian
竹笕，古代用竹筒制成的输卤管道，通过压差和连通器原理运输卤水，可延伸 5-10 公里，需配合储卤坑（Jianwo）使用。
7. Jianwo
储卤坑，竹木结构的卤水储存容器，用于中转卤水、降低管道压力、沉淀杂质及疏通堵塞，辅助竹笕长距离运输。
8. Zhitiaojia
枝架，卤水浓缩塔，建在高处的露天平台，利用阳光和风力蒸发卤水，提高盐浓度，减少煮盐时的燃料消耗。
9. Tianche
天车，井盐生产中用于提升卤水的机械装置，由固定滑轮和卤绳组成，借助牛力驱动滑轮系统完成提卤。
10. "Relocate brine for evaporation" strategy
“移卤就灶” 策略，指将卤水运输到天然气产区进行蒸发制盐，解决卤水与燃料的空间不匹配问题，推动输卤技术创新。

问题
1.卓筒井在中国古代井盐生产史上的意义是什么？
卓筒井于北宋中期（960–1127 年）出现于四川南部，是中国古代井盐生产的关键突破。其采用 “一字型” 钻头的小口深井冲击钻探法，通过冲击破碎岩石。该技术将井口直径缩小至碗口大小，并用楠竹套管（以麻绳和油灰密封）加固井壁，降低坍塌风险。带皮革单向阀的竹制汲卤筒与辘轳滑轮系统的创新，实现了深层卤水的高效采集。卓筒井开创了世界最早的深井钻探技术，为清代燊海井突破千米深度等后续发展奠定了基础。

2.北宋时期的 “冲击钻探法” 如何革新了井盐钻井技术？
北宋的 “冲击钻探法” 通过引入机械垂直冲击革新了钻井技术。工人踩动踏板驱动钻头，逐层破碎岩石以加深井深，流程包括选址、开挖井口、安装石圈、大口径钻探、木桩支护及小口径精修，与现代油气开采技术原理相似。该方法以机械效率取代手工浅挖，实现了深层卤水的开采，开创了利用钻头破碎岩石的先河，降低劳动强度并提升深井可行性。1835 年燊海井的成功印证了其在推动地下资源勘探中的深远影响。

3.“汲卤筒” 的结构设计是怎样的？它如何实现卤水的采集？
汲卤筒是去节的竹制圆筒，直径小于井眼，底部装有熟牛皮单向阀。当筒下放至井底时，水压使阀门开启，卤水流入；提升时，筒内卤水压力压迫皮革阀关闭，锁住卤水。该设计利用流体静压和单向流通原理实现高效采卤。配合定滑轮与卤绳，通过 “天车” 等系统借助牛力驱动提升装置，简化采集流程。

4.古代中国人如何利用竹笕（Zhujian）和储卤坑（Jianwo）实现卤水的长距离运输？
竹笕（Zhujian）是用竹条捆绑、油灰密封的空心竹管，连接成连续管道，利用压差和连通器原理输送卤水 5–10 公里。因竹笕无法急转弯，故设置储卤坑—— 竹木结构的容器，用于分流、减压、沉降杂质及疏通堵塞。作为中间站点平衡水压，保障流量稳定。二者结合克服地形障碍，实现卤水从盐井到天然气灶场的运输。

5.井盐生产中 “移卤就灶” 策略的目的是什么？
“移卤就灶” 策略旨在解决卤水产地与燃料（天然气）场的空间错配问题。通过将卤水运输至天然气富集区，生产者优化能源利用，减少向偏远盐井运输笨重燃料的需求。该策略通过在产气区集中煎盐提升效率，降低人力与物料成本，同时因天然气较传统木柴更稳定高效，可提高盐产量与品质，推动规模化生产。

6.为何自贡燊海井被视为古代钻井技术的里程碑？
自贡燊海井于清代道光年间（1835 年）建成，是世界上第一口超千米（1001.42 米）的深井。其采用北宋冲击钻探法，代表古代深井技术的巅峰，深度超越同时期全球水平，彰显中国先进的钻井能力。该井集成竹套管、汲卤筒、滑轮系统等创新，凝聚千年技术精华。其技术传入欧洲后影响后世矿产勘探，推动全球钻探与地下资源开发，故成为古代钻井技术的里程碑。

参考文献
[1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46.
[2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23.
[3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35.
[4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006.
[5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020.
我保证在本课程期末论文写作过程中未使用人工智能辅助工具

==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper 中国水墨画留白美学 The Aesthetics of “Negativve Space”in Chinese Ink Painting==

Negative Space: The Breathing Rhythm of Chinese Art

I. Emptiness as Universe
In Ma Yuan’s Fishing Alone on a Cold River(Song Dynasty), a solitary boat floats on silk blanketed by 70% negative space. This void embodies Guo Xi’s principle: "To manifest a mountain’s height, veil its waist with mist". Negative space (liúbái) here transforms into clouds, rivers, and sky—a realm where meaning germinates. As Qing critic Hua Lin noted: "White is the paper’s whiteness—the mountain’s sunlit plane, the sky beyond the frame—all belong to this whiteness."
[[File:hanjiangdudiaotu.jpg]]

II. Philosophical Foundations
1. Daoist "Non-Being"
Ni Zan’s Rongxi Studio translates Laozi’s teaching—"A room’s usefulness lies in its empty space"—into an ink-washed Taihu Lake. The blank water symbolizes Zhuangzi’s "empty room generates light," where vitality flows in formlessness.
[[File:rongxizhaitu.jpg]]

2. Zen "Emptiness"
Liang Kai’s Splashed Ink Immortal hides facial features in ink clouds. Like Zen koans, its negative space invites satori (sudden enlightenment). D.T. Suzuki called it "the breath of the soul".
[[File:pomoxianrentu.jpg]]

3. Confucian Harmony
Wen Zhengming’s Studio of True Appreciation* balances study and mountains with misty blankness, reflecting The Book of Rites’ ideal: "Harmony positions heaven and earth."Negative space here moderates excess, embodying Confucian restraint.
[[File:zhenhezhaitu.jpg]]

III. Technical Evolution ：Five Classical Paradigms of Negative Space in Chinese Ink Painting

In Fan Kuan’s Northern Song masterpiece *Travelers Among Mountains and Streams*, the "Mist-Locked Waist" (烟霞锁腰) technique pioneered the use of horizontal negative space at mountain midriffs. By interrupting ridgelines with blank voids, these areas transformed into drifting clouds, amplifying Mount Zhongnan’s precipitous grandeur while shrouding it in ethereal mystery. Xia Gui of the Southern Song elevated this spatial wisdom in *Pure and Remote View of Streams and Mountains*. His "Water-Mirror Emptiness" (水镜涵虚) method rendered midgrounds as expansive voids – punctuated by distant sails and islets – that dissolved boundaries between sky and water, creating boundless Zen-inspired realms where light and clouds merged in liquid reflection.

The Qing dynasty’s Bada Shanren revolutionized the art in *Fish at Play*. Through "Broken Strokes, Unbroken Spirit" (笔断意连), fish tails dissolved into emptiness with fading ink, their open-fin lines implying current flow. This kinetic suggestion materialized Zhuangzi’s philosophical parable of "fish joy" (鱼乐) into visual poetry where form and void breathed as one. Yuan artist Wang Ming forged a divergent path in *Ink Plum Blossoms*. His "Snow-Window Clarity" (雪窗莹澈) paradigm left silk backgrounds untouched, while dry-brush strokes sketched plum branches as sparse as frost. Against this wintry purity, blossoms emerged as icy jewels, their isolation crystallizing the scholar’s unyielding spirit.

When Wen Zhengming inscribed colophons for *The Studio of True Appreciation*, he perfected "Scholarly Spacing" (书卷布白). Strategic placement of text blocks created rhythmic "breaths" between characters, widened line spacing evoked parchment’s texture, and vermilion seals anchored voids – fusing poetry and painting into a single pulse of literati elegance.

These five paradigms trace negative space’s evolution from Tang to Qing: Song monumental landscapes birthed mist and water illusions; Ming loyalists transmuted them into philosophical vessels; scholar-painters ultimately refined them into emblems of refined solitude. Together, they embody the artistic truth: "Negative space is no void, but the pivotal mechanism of world-making."
IV. Contemporary Transformations
1. Graphic Design
Kan Tai-keung’s poster *Free* suspends a seal in void space, modernizing the proverb "Contain universe in a mustard seed".
[[File:zizai.jpg]]

2. Architecture
I.M. Pei’s Suzhou Museum frames "rock paintings" through moon gates, where blank walls become Ni Zan’s scroll. The void borrows scenery (jièjǐng), turning space into a walking meditation.
[[File:pianjiashishan.jpg]]

3. Cinema
In Crouching Tiger, bamboo fight scenes dissolve into monochrome, turning action into living ink wash. Zhang Yimou’s Shadow uses monochrome blanks as metaphors for power.
[[File:yin.jpg]]

Epilogue
Negative space embodies China’s gentle compromise with the cosmos. From Ni Zan’s desolate lake to Wu Guanzhong’s white-walled villages, it remains the poetic dwelling of Eastern spirit. In an age of saturation, only those who leave space can hear the echoes of thought and the breath of soul.

References

1. KONG Wencheng."The Art of Negative Space in Chinese Painting and Its Aesthetic Value"[J]. *World of Calligraphy and Painting*, 2025(1). // Traces historical development and applications across three painting genres
2. ZONG Baihua.The Realm of Art* [M]. Peking University Press, 1987. // Explores "Where emptiness resides, spiritual energy flows"
3. WANG Fengxin."Brief Discussion on Beauty Creation through Negative Space in Chinese Painting" [J]. *Academic Forum, 2023. // Analyzes five techniques and their Daoist/Zen connections
4. SONG Yu."Negative Space: The Artistic 'Sanctuary' of Chinese Literati"[N]. Wenhui Daily, 2023. // Interprets Ni Zan's scholarly spirit in blank spaces
5. ZHU Liangzhi.True Water Has No Scent[M]. Peking University Press, 2009. // Examines Zen structure in Bada Shanren's spatial composition
6. James CAHILL.Hills Beyond a River[M]. SDX Joint Publishing, 2009. // Comparative study of Song-Yuan landscape voids
7. Palace Museum (Ed.).Harmony of All Creatures: Special Exhibition Catalog of Animal Paintings [M]. Palace Museum Press, 2025. // Case study: Ink Grapes in bird-and-flower painting
8. CHENG Guodong.Dynamics in Ink: Water Margin Woodcuts since Late Ming[M]. Shanghai People's Fine Arts Publishing, 2025. // Analyzes Chen Hongshou's figure painting techniques
水墨留白：中国艺术的呼吸之道
一、空纳万境：留白的美学密码
南宋马远的《寒江独钓图》中，一叶孤舟浮于绢素，七成画面留白。这看似虚无的空白，实则是北宋郭熙“山欲高，烟霞锁其腰”的智慧实践——以“无”构建寒江的苍茫宇宙，引导观者在空白中听见风声、感知天地寂寥。留白绝非空缺，而是“计白当黑”的主动经营：空白处可化云烟、流水、天空，甚至成为意境的生发之地。如清代华琳《南宗抉秘》所言：“白即纸素之白，凡山石之阳面处，画外之水天空阔处，皆此白也。”

二、哲学根基：道禅儒的思想墨痕
1. 道家之“无”的宇宙观
老子“凿户牖以为室，当其无，有室之用”的哲思，在倪瓒《容膝斋图》中化为太湖的空白。水面不着一笔，却似庄子“虚室生白”的隐喻——空白处涌动未形之物的生命力。道家“有无相生”的辩证思维，使留白成为“道”的视觉化身，在虚无中包蕴无限可能。

2. 禅宗之“空”的顿悟
梁楷《泼墨仙人图》）中，仙人袍袖飞白如云，五官隐于混沌。这种“不立文字”的表达，恰如禅宗公案：空白是棒喝前的静默，待观者顿悟画外之音。日本学者铃木大拙评其：“留白是心灵的呼吸”，空白处即禅心映照之地。

3. 儒家“中和”的调和
文徵明《真赏斋图》以云气留白衔接书斋与远山，体现《礼记》“致中和，天地位焉”的秩序感。留白在此成为虚实平衡的调节者，避免画面过满，契合儒家“过犹不及”的节制美学。

三、技法演化：五类留白范式

北宋范宽在《溪山行旅图》中开创的"烟霞锁腰"范式，通过在山腰处施以横向留白阻断山势轮廓，使空白自然转化为流动云气，不仅强化了终南山险峻高耸的视觉冲击，更营造出云雾缭绕的森然气象。南宋夏圭则将这种空间智慧推向新境，在《溪山清远图》中以"水镜涵虚"手法处理中景，大片空白经帆影点缀化为意象水体，天光云影倒映其中，消弭了天水界限，构筑出空明无界的禅意空间。至清初八大山人笔下，留白技法产生质变，《鱼乐图》中"笔断意连"的创造实践使游鱼尾部墨色渐淡融于空白，未闭合的鳍尾线条暗示水流方向，以虚笔延展动态，将庄子"鱼乐"哲思转化为物境相融的视觉诗篇。元代王冕的《墨梅图》则另辟蹊径，素白绢底不施渲染的"雪窗莹澈"范式，以飞白笔法勾勒疏落如雪的墨梅，在零下视觉温度感中铸就寒梅傲骨的人格象征，莹澈空白衬出冰魄玉魂的孤高之境。而明代文徵明在《真赏斋图》题跋中展现的"书卷布白"范式，通过经营题跋位置留出气口、扩大行距、朱文印章平衡空白等手法，使文字与图像形成呼吸韵律，在书画互释的节奏美中凝结成文人雅逸的精神图腾。这五种范式浓缩着唐至清的留白演进史：北宋全景山水奠基的烟霞水镜之法，在遗民画家笔下蜕变为笔断意连的哲思载体，最终于文人画中结晶为雪窗书卷的雅逸之境，共同诠释着"留白非空，乃造境枢机"的艺术真谛。

四、当代转译：留白的生命力
1. 视觉设计的“墨韵新声”
靳埭强海报《自在》将朱砂印章悬于大片留白中，如宇宙微尘，演绎“纳须弥于芥子”的现代版。空白在此超越装饰，成为东方哲思的视觉转译。

2. 建筑空间的“虚实借景”
苏州博物馆“片石假山”：贝聿铭以粉墙为纸，山石为墨，月洞门框出虚空。门后无实景，却以“虚空借景”呼应倪瓒的太湖留白，让观者在行走中感受时空流动。

3. 电影语言的“水墨韵律”
《卧虎藏龙》竹海打斗场景，李安以慢镜头虚化背景，武舞化作绢本上的水墨晕染。张艺谋《影》的黑白影调，更是将留白升华为权力博弈的隐喻。
结语：
留白是中国人对宇宙的温柔妥协——当西方艺术追求满幅的感官征服时，东方智慧在素绢的空白处埋藏密钥。从倪瓒荒寒的太湖到吴冠中《双燕》中的粉墙黛瓦，留白始终是东方精神的诗意栖居。它不仅是艺术语言，更是一种生命态度：在信息过载的时代，懂得留白的人生，方能容纳思想的回响与灵性的呼吸。
参考文献
1. 孔文成.《中国画中的留白艺术及其美学价值》[J]. 书画世界，2025(1). // 定义留白的历史脉络与三类题材应用
2. 宗白华.《艺境》[M]. 北京大学出版社，1987. // 阐释“空白处即灵气往来之所”
3. 王凤欣.《小议中国画“留白”造美》[J]. 学术论坛，2023. // 分析五类留白技法与禅道关联
4. 宋羽.《留白，中国文人的艺术“自留地”》[N]. 文汇报，2023. // 解读倪瓒留白中的文人精神
5. 朱良志.《真水无香》[M]. 北京大学出版社，2009. // 论证八大山人留白的禅意结构
6. 高居翰.《隔江山色》[M]. 三联书店，2009. // 宋元山水留白的比较研究
7. 故宫博物院.《万物和生——动物题材绘画特展图录》[M]. 故宫出版社，2025. // 提供花鸟画留白案例《墨葡萄图》
8. 程国栋.《图写奋袂——晚明以来的<水浒>版画》[M]. 上海人美，2025. // 分析陈洪绶人物画留白手法
我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper 中国风R&B节奏布鲁斯音乐 Chinese-Style Rhythm and Blues Music (R&B music)==

==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper 炎帝陵 Yandi Mausoleum==

==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper 盗墓笔记 The Grave Robbers’ Chronicles==

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper 《西厢记》The moon and the Zither ：The story of the western wing==

==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper 郓城壮馍 Yuncheng Zhuangmo ==
Yuncheng Zhuangmo

202330092025 郑筱彤 Zheng Xiaotong

[[File:Example.jpg]]

Introduction:
Yuncheng Zhuangmo is a traditional specialty of Yuncheng County in Heze City, Shandong Province,renowned for its unique production process, rich cultural connotations, and delicious taste. The Mass Daily once praised it as a "unique flavor in the southwestern region of Shandong," which fully demonstrates its important position in local cuisine.

History:
Yuncheng Zhuangmo has a long history, and there are several versions of its origin. One theory is related to the Water Margin culture. Yuncheng is one of the important birthplaces of the Water Margin stories, and there is a saying in the Water Margin that "Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng." According to legend, during the Northern Song Dynasty, when the heroes of Water Margin were on expedition or traveling, they needed a food that was both filling and easy to carry. Thus, Zhuangmo came into being. This large pancake-like food, rich in meat and oil, could quickly restore energy and meet the dietary needs of the heroes during their arduous campaigns. Therefore, it was named "Zhuangmo" (meaning "strong cake") and also called the "Hero's Cake."
Another theory is related to Emperor Qianlong. According to the records in Heze Culture and Tourism, when Emperor Qianlong passed through Liangshan during his southern tour, he inquired about the local specialties of Yuncheng. The officials recommended a type of pastry called "Water Margin Big Zhuangmo." Initially, the Big Zhuangmo was simply a layering of dough and oil. To make it more presentable for the emperor's tasting, the chefs added meat fillings. After Emperor Qianlong tasted it, he praised it highly, and the Big Zhuangmo thus became famous. It gradually evolved into the Yuncheng Zhuangmo that we know today.

Production Process:
1. Zhuangmo is a type of pastry, so the first step is to make the dough. Pour the flour into a large bowl and gradually add boiling water (about 80% hot). This semi-scalded dough method gives the dough both elasticity and a soft, palatable texture. Then, knead the dough repeatedly until it is smooth. The dough should be as soft as possible, so the kneading force needs to be well controlled. Place the dough in a warm place to rest for about 1 hour until it expands in volume. Finally, divide the dough into small pieces about the size of a fist.
2. The second step is to prepare the filling.Traditionally, the filling of Zhuangmo was mainly composed of beef or mutton, but now it is mostly made of pork. Chop the meat into a paste.Add chopped green onions, minced ginger, salt, five-spice powder, cooking wine, and sesame oil to the meat paste, and mix well.Then Marinate the filling for about 15 minutes.
3. The third step is the wrapping process. Roll out the dough piece into a long, tongue-shaped sheet. Use a wooden spoon or spatula to evenly spread the prepared meat filling onto the dough sheet. The ratio of dough to filling should be 3:2. Then, stretch the dough sheet with both hands into a strip about two feet long, fold it from the narrow end into a square shape, and press the open ends together with your hands. Finally, roll it out again into an oval-shaped pastry that is seven inches long, four inches wide, and six-tenths of an inch thick. Since the dough is very soft, the filling can easily leak out, so the maker needs to control the amount of filling and have skillful handling techniques.
4. The last step is the crucial frying process. Heat a flat pan, add an appropriate amount of mixed vegetable oil and animal oil, and heat it up. Then, partially immerse the pastry into the hot oil, frying and turning it until it turns a dark red color. Remove it from the oil and drain off the excess oil. After frying, cut the Zhuangmo into quarters.You will see layers of dough alternating with layers of meat, with the dough as thin as paper and the meat like fine shreds. There are more than ten layers inside and out, with clear strata that make it mouth-watering.

Cultural Significance:
The origin of Zhuangmo is closely related to Water Margin culture. When people make and enjoy it, they often recall the Water Margin culture associated with it. The preparation and consumption of Yuncheng Zhuangmo reflect the living customs and dietary culture of the heroes in Water Margin, making it an important carrier of Water Margin culture.
Zhuangmo is a specialty cuisine from the southwestern region of Shandong Province. In addition to Yuncheng, similar snacks can also be found in places like Henan. It is a product of the intersection of the “rice in the south and wheat in the north” dietary cultures, reflecting the regional characteristics of the Yellow River alluvial plain. In terms of production techniques, Heze Zhuangmo follows the ancestral rules of “three smoothnesses, six turns, and seventy-two kneadings,” which demonstrates the people of southwestern Shandong's adherence to and inheritance of traditional skills.

Modern Inheritance and Development:
In modern society, as a local specialty, Zhuangmo is not only widely available in every corner of Yuncheng but has also gradually expanded into broader markets, attracting more and more people to taste it. Among them, the most famous Zhuangmo shop, "Hejia Zhuangmo," has been featured on the popular TV program A Bite of China.This has boosted the local tourism and economic development, attracting a large number of tourists who line up to purchase it.
While preserving the traditional methods of making Zhuangmo, the inheritors of this craft have also developed a variety of new flavors to meet the diverse tastes of consumers. These include vegetarian options such as egg and chive Zhuangmo, as well as innovative versions like Zhuangmo with eggs poured inside.

Terms and Expressions:
Yuncheng Zhuangmo 郓城壮馍
the Water Margin culture 水浒文化
semi-scalded dough 半烫面
Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城
rice in the south and wheat in the north南米北面

Questions:
1. Which region is Zhuangmo a specialty of?
2. What are the main ingredients of Zhuangmo?
3. What local culture is Zhuangmo associated with?

Preferences:
1.舌尖上的郓城：来郓城不得不吃的美食Yuncheng on the Tip of the Tongue: Must-Try Dishes in Yuncheng（2024.10.1）
2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮-大众日报Shandong Flavors | Yuncheng Zhuangmo: Named "Mo," but Not a Mo—The Staple Food of the Water Margin Heroes—Mass Daily（2024-02-10）
3.小康中国千城早餐｜郓城壮馍-新华社三农A Well-Off China: Breakfast in a Thousand Cities | Yuncheng Zhuangmo - Xinhua News Agency（2022-09-13）

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

郓城壮馍

介绍:
郓城壮馍是山东省菏泽市郓城县的传统特产名吃，以其独特的制作工艺、丰富的文化内涵和鲜美的口感而闻名。《大众日报》曾在报道中称赞其为“鲁西南地区的独特风味”，足见其在地方美食中的重要地位。

历史:
郓城壮馍历史悠久，关于它的起源，民间流传着多个版本。一种说法与水浒文化有关。郓城是水浒故事的重要发源地之一，水浒传中有“梁山一百单八将，七十二名在郓城”的说法。据传，北宋时期，水浒好汉在出征或赶路时，需要一种既能饱腹又方便携带的食物，壮馍便应运而生。这种大饼状的食物，肉多油多，能让人迅速恢复体力，满足了好汉们在艰苦征战中的饮食需求，因此得名“壮馍”，又被称为“好汉饼”。
还有一种说法与乾隆皇帝南巡有关。据《菏泽文化旅游》记载，乾隆皇帝南巡时途经梁山，询问郓城有何特色美食。官员推荐了一种名为“水浒大壮馍”的面食，最初的大壮馍只是简单的面皮和油的层叠。为了让其更加体面，以供皇帝品尝，厨师加入了肉料。乾隆皇帝品尝后，对其赞不绝口，大壮馍也因此名声大噪，逐渐演变成如今的郓城壮馍。

制作过程:
1.壮馍是一种面食，因此第一步便是和面。将面粉倒入大碗中少量多次加入八成热的热水，这种半烫面的做法使面团既有韧性又柔软适口。之后再反复揉成光滑的面团，这里要求面揉的越软越好，因此揉面的力度要掌握好。将面团放置在温暖处醒发约1小时，使面团体积膨胀，再揪成一个个拳头大的面团。2.第二步是调馅。早期壮馍的馅料多以牛肉和羊肉为主，但现在大多是猪肉。将肉用刀剁成肉泥，在肉馅中加入葱末、姜末、盐、五香粉、料酒、香油等调料，搅拌均匀，腌制15分钟左右。3.第三步就是包制过程。将面剂擀成长舌状，把调好的肉馅用木勺或木片均匀涂抹在面皮上，面与馅的比例为三比二，然后两手扯平，拉成二尺长条，从小头折叠，叠成方块，两头露口处用手压合，最后再擀成长七寸、宽四寸、厚六分的椭圆形饼坯。因为面团很软，所以馅料十分容易漏出，需要制作者把控好馅料的多少以及手法娴熟。4.最后是最关键的煎制过程。平底锅上火，加入适量植物油与动物油混合的油，烧热后将面饼半浸入平底油锅中，边炸边翻，炸至绛红色后捞出控油。出锅后的壮馍，以快刀十字切开，便可看到一层面夹一层肉，面如纸薄，肉如丝絮，里里外外不下十几层，层次分明，令人垂涎欲滴。

文化意义:
壮馍的起源与水浒文化分不开。当人们在制作和品尝它时，总会想起与之相关的水浒文化。郓城壮馍的制作和食用方式，反映了水浒好汉们的生活习俗和饮食文化，成为水浒文化的重要载体。
壮馍是鲁西南地区的一道特色美食。除了郓城，河南等地也有与它类似的小吃。它是“南米北面”饮食文化交界处的智慧结晶，反映了黄河冲积平原地区的地域特色。在制作工艺上，菏泽壮馍遵循“三光六转七十二揉”的祖传规矩，体现了鲁西南地区人民对传统技艺的坚守和传承。

现代传承与发展:
在现代社会，壮馍作为地方特色美食，不仅在郓城的大街小巷随处可见，还逐渐走向更广阔的市场，吸引了更多人来此品尝。其中，最有名的一家壮馍店“何家壮馍”还被《舌尖上的中国》宣传。这推动了当地旅游业和经济的发展，吸引了非常多的游客排队购买。
在传承原本壮馍的制作方法的同时，壮馍传承人也开发出更多口味的壮馍，如素馅的鸡蛋韭菜壮馍、灌鸡蛋的壮馍等，以满足不同消费者的口味需求。

术语和表达式:
Yuncheng Zhuangmo 郓城壮馍
the Water Margin culture 水浒文化
semi-scalded dough 半烫面
Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城
rice in the south and wheat in the north南米北面

问题:
1.壮馍是哪个地区的特色美食？
2.壮馍的主要用料是什么？
3.壮馍与当地的什么文化有关？

参考文献:
1.舌尖上的郓城：来郓城不得不吃的美食（2024.10.1）
2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮大众新闻-大众日报（2024-02-10）
3.小康中国千城早餐｜郓城壮馍新华社三农（2022-09-13）

我在此保证我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper 汉寿甲鱼 Hanshou turtle==

==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper泡泡玛特 POP MART==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper 乒乓球 Ping-Pong==

==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen==

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper 湘军 the Xiang Army==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==

旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-19T08:19:38Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture */

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==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》Legend of Zang Hai==
The Application and Embodiment of Chinese Cinematic Aesthetics in The Legend of Zang Hai

202330092205 彭佩欣 Peng Peixin

Abstract: The Legend of Zang Hai (Zang Hai Zhuan) was the most popular Chinese historical political drama of 2025, another masterpiece directed by Zheng Xiaolong following The Legend of Zhen Huan. Every aspect, from characters and plot to dialogue and settings, demonstrates meticulous craftsmanship. The series garnered widespread acclaims both domestically and internationally. Its success stems not only from the production team's high-quality execution and the actors' superb performances but also from its cinematography, which is deeply imbued with the characteristics of Chinese aesthetics. This essay aims to conduct an in-depth analysis of the multi-dimensional features of Chinese cinematic aesthetics in The Legend of Zang Hai , exploring how it utilizes various techniques to shape artistic conception (yijing), convey spirit-resonance (qiyun), and intricately interweave with narrative. In doing so, it showcases artistic appeal while achieving cultural transmission.

Keywords: The Legend of Zang Hai (Zang Hai Zhuan), Chinese Aesthetics, Artistic Conception (Yijing), Lively Spirit-Resonance (Qiyun Shengsheng), Focus Perspective, Color Aesthetics

In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series.

1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings. [[File:Example(Peng Peixin snow).jpg]]

For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance.[[File:Example(Peng Peixin).jpg]]

2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality.

3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception.

[[File:Example(Peng Peixin4).jpg]]

4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states.

[[File:The Legend of Zang Hai.jpeg]]

The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange.

References: (1) Zong, Baihua. (1981). A Stroll through Aesthetics M M. Shanghai: Shanghai People's Publishing House. (2) Ye, Lang. (2015). Beauty Lies in the Image-Conception M M. Beijing: Beijing United Publishing Co., Ltd. (3) Xie, He. (1959). The Record of the Classification of Old Painters (Guhuapinlu) M M. Beijing: People's Fine Arts Publishing House. (4) Wang, Qiang. (2020). The Transformation and Application of 'Qiyun Shengsheng' in Contemporary Film and Television Creation J J. Journal of Beijing Film Academy, (02). (5) Bachelard, Gaston. (2014). The Poetics of Space. (Pan Yihai, Trans.). Shanghai: Shanghai Translation Publishing House. (Original work published 1958) (6) Barnard, Malcolm. (2004). Approaches to Understanding Visual Culture. (Li Benbing, Trans.). Beijing: China Renmin University Press. (Original work published 2001)

Terms and Expressions: Artistic Conception (Yijing)意境 Empty Shot空镜头 Layered Lighting and Shadow光影层次 Lively Spirit-Resonance (Qiyun Shengsheng)气韵生动 Camera Movement 运镜 Viewing Journey (Youguan)游观 Flowing with Grace行云流水 Focus Perspective焦点透视 Dynamic Balance 动态平衡 Color Aesthetics色彩美学 Bamboo Green and Ink Black青墨色 Cyan-Blue青蓝色 Navy Blue藏青色 Dark Red and Deep Brown 暗红与深褐 Martial World (Jianghu) 江湖 Cultural Calling Card 文化名片 Spirit-Resonance (Qiyun)气韵 Color Collision 色彩碰撞 Questions: 1.What aspects of Chinese cinematic aesthetics are applied in The Legend of Zang Hai according to this paper? Crafting "Artistic Conception" (Yijing); Pursuing "Lively Spirit-Resonance" (Qiyun Shengsheng); Breaking "Focus Perspective"; Employing "Color Aesthetics" 2.What is the function of applying "Lively Spirit-Resonance" (Qiyun Shengsheng)? Immersive Storytelling & Emotional Flow; Expressing Vitality & Inner State 3.How are the profound implications conveyed in The Legend of Zang Hai ? Empty Shots.

《藏海传》中中式镜头美学的运用与体现

彭佩欣

摘要：《藏海传》是2025年最火爆的中国古装权谋剧，是郑晓龙导演继《甄嬛传》之后又打造的一部佳剧。从人物到剧情到台词到场景，每一个环节都独具匠心，该剧在海内外收获了一众好评，该剧的成功不仅离不开制作方的精良制作和演员的精湛演绎，而且其中的镜头场景极具中式美学的特征。本文旨在深入剖析《藏海传》中中式镜头美学的多维特征，探究其如何依托各类手法塑造意境、传递神韵，并与剧情叙事紧密交织，既展现艺术魅力，又实现文化传承。

关键词：藏海传，中式美学，意境，气韵生动，焦点透视，色彩美学

近年来，众多国产电视剧在镜头美学上下功夫，特别是国产古装剧，将东方美学传播至海外各地，给影迷们贡献视觉盛宴。《藏海传》作为2025年国产古装剧的视觉美学标杆，其镜头语言深度植根于中国传统艺术精神。该剧中体现的中式美学通过独特视觉表示出来，延续和发展中华优秀传统文化。《藏海传》用独特的镜头语言将古典意境、气韵、空间观念等要素娓娓道来，为观众带来别具一格的视觉盛宴与文化浸润。下面会对《藏海传》中中式镜头美学的几个突出的多维特征进行介绍。

1.“意境”的营造。（叶 2015）《藏海传》善于用空镜头来传达深远意蕴。如雪落庭院场景，空无一人的庭院中，雪花静静飘落堆积，无声的画面尽显萧索凄冷，为即将上演的权谋争斗、人物命运转折提前铺陈出凝重氛围，引得观众心生涟漪，提前沉浸其中。同时《藏海传》对光影层次的运用更是意境营造的妙笔，纱帘后，朦胧光影勾勒出人物婉约身姿、迷离面容，似真似幻，宛如从古画中走出。烛火下，剪影翩跹，人物或喜或悲、或谋或思的情绪隐匿于明暗交替间，含蓄又炽热，让观众透过光影间隙窥探人物心底隐秘，如临古典诗词所绘之境，余韵悠长。

2.“气韵生动”的追求。（王 2020）《藏海传》中镜头缓缓推进于藏海在墓地中发现的壁画，长长的壁画宛如一幅古朴长卷（谢 1959），随着镜头推进徐徐展开，画面逐步聚焦壁画内容，不仅推动情节发展，还用运镜模拟出“游观”体验。观众同步和主人公窥探壁画奥秘，感受神秘氛围，气韵随之流动绵延。与此同时，人物动作也与镜头运动配合巧妙。如人物行礼时，镜头微微下沉、缓慢推进，身体前倾、双手交叠的恭敬动作纤毫毕现，礼法的庄重与人物的敬畏汇于画面。这一连串动作与镜头配合严丝合缝，仿若行云流水，尽展人物气韵与生命活力。

3.“焦点透视”的突破。（巴什拉 2014）宫廷上朝场景中，文官和武官对称分布在大殿左右两侧，然而并非静态，侧留宫廷侍卫伫立，人物虽未处中心，却在对称框架里衍生出动态平衡。视线可自由穿梭于人物、建筑间隙，领略空间层次，挣脱西方透视桎梏，尽显东方自由空间观。

4.“色彩美学”的碰撞。（巴纳德 2004）该剧整体色彩以中国传统颜色为主。宫廷场景，红墙金瓦，彰显皇家威严尊贵；江湖场景，青墨色晕染，竹海清流，还原自然的清幽本色；人物服饰，官场服饰采用青蓝色，象征沉稳庄重，郡主服饰采用红色和藏青色，凸显人物身份尊贵和性格活泼。危机四伏时，暗红和深褐充斥画面，营造压抑紧张的气氛。色彩的碰撞调和，精准锚定情绪坐标，强化叙事氛围，让观众一眼洞悉剧情走向、人物状态。

《藏海传》深度拥抱中式镜头美学，从意境营造的空镜头、光影，到气韵生动的运镜、动作配合，从焦点透视的打破到传统色彩美学的浸润，构造出极具东方神韵的影视奇观。它为国产电视剧创作开辟出中式美学新径，以传统文化为创意富矿，挖掘出深厚文化底蕴、独特艺术魅力；对外而言，更是一张响当当的文化名片，向世界昭示中华美学的博大精深，吸引全球目光聚焦东方影视，为文化输出、文明互鉴添砖加瓦。

参考文献 (1)宗白华. 《美学散步》[M]. 上海：上海人民出版社，1981. (2)叶朗. 《美在意象》[M]. 北京：北京联合出版公司，2015. (3)谢赫. 《古画品录》[M]. 北京：人民美术出版社，1959. (4)王强. 《“气韵生动” 在当代影视创作中的转化与应用》[J]. 《北京电影学院学报》，2020（02）. (5)[法] 加斯东・巴什拉. 《空间的诗学》[M]. 潘译海，译. 上海：上海译文出版社，2014. (6)[英] 马尔科姆・巴纳德. 《理解视觉文化的方法》[M]. 李本丙，译. 北京：中国人民大学出版社，2004. 问题： 1.本文讲了哪几个《藏海传》中中式镜头美学的运用？ 2.“气韵生动”的运用有什么作用？ 3.《藏海传》的深远意蕴通过什么来传达？我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper 长江七号 Changjiang Number 7==

==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper 金庸武侠小说鉴赏 Appreciation of Kung Fu Stories written by Jinyong ==

==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 衡阳土头碗 Hengyang Touwan==

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==
ACG Culture 二次元文化 202330092010 吴金诚 Wu Jincheng

Abstract

This article delves into the emergence and expansion of ACG culture, shedding light on its distinctive attributes and the ways in which it has captivated the interest of the youth. Through an examination of its development in China and Japan, the article underscores the cultural disparities and their ramifications for consumers. Furthermore, it explores the benefits and hurdles associated with ACG culture, offering insights into its future trajectory and the significance of fostering sustainable growth.Keywords: ACG culture, secondary dimension culture, cultural differences, challenges and opportunities, future development

1.Introduction

In the wake of the internet's swift evolution, ACG culture has materialized and swiftly permeated various facets of modern culture. ACG, an acronym for "Animation, Comic, and Game," symbolizes a unique cultural phenomenon that has garnered significant traction among the youth. In China, the ACG culture market has witnessed remarkable growth, amassing a substantial fan base. Its influence has transcended the cultural sphere, permeating broader societal dimensions. Against this backdrop, exploring the characteristics of ACG culture and its ramifications for Chinese youth becomes paramount. Additionally, juxtaposing ACG culture in China and Japan unveils its global dispersion and mutation.

2.The Current State of ACG Culture in China and Comparison with Japan

ACG culture originated in Japan and has gradually spread to China. Japan, the cradle of ACG culture, has a long history of hosting comic exhibitions and game conventions. Since the early 20th century, Japan's manga and anime industries have gradually emerged and swiftly developed post-World War II. Astro Boy by Osamu Tezuka established the foundation for Japan's anime industry. As technology advanced, the production quality of anime and manga improved, and the gaming industry rose in the 1980s. Nintendo's Super Mario and The Legend of Zelda achieved global success, further driving the development of ACG culture.

ACG culture has flourished in China, expanding into animation production, comic creation, game development, and the sale of derivative products. Backed by government policies, China's ACG industry has given rise to exceptional original works and influential IP images, such as "Ne Zha: The Rise of a Legendary Hero." ACG culture in China is tightly interwoven with internet technology, with online platforms becoming pivotal channels for disseminating ACG works, offering a space for creators and enthusiasts to interact and create. [[File:Comic Exhibition.jpg]]China has also witnessed the rise of offline ACG events, such as comic exhibitions and game conventions, which have become vital platforms for fans to gather and celebrate their shared interests.[[File:Goods.jpg]] These events not only strengthen the sense of community among enthusiasts but also inject new vitality into the cultural market. The derivative products, often referred to as "gu zi" by enthusiasts due to their similarity to the English word "goods," have become an integral part of the ACG culture, with dedicated stores and exhibitions catering to this niche market.

3.The Advantages and Challenges of ACG Culture

ACG culture offers a vast creative space that inspires creators' imagination. Through rich storylines, unique character settings, and exquisite visuals, it attracts audiences and players. It meets the demand for personalized and diverse culture among the youth, providing a unique space for entertainment and social interaction. This has given rise to a unique social culture where young people can connect with like-minded peers.

However, ACG culture faces challenges such as the potential for violent and vulgar content in some works, which may negatively impact adolescents' mental health. The ACG industry also struggles with issues like intellectual property protection, talent shortages, and fierce market competition. In China, the commercialization of ACG culture is relatively underdeveloped compared to the United States. There are gaps in brand building, market promotion, and industrial chain integration.

4.Future Prospects and Conclusion

Looking ahead, with the continuous advancement of internet technology and frequent global cultural exchanges, ACG culture is expected to have broader development prospects. China's ACG industry will enhance its original capabilities, leverage local cultural resources, and create distinctive Chinese ACG brands. ACG cultures in China and Japan will influence and learn from each other, collectively promoting the prosperity of global ACG culture.

In summary, ACG culture, as an emerging subculture phenomenon, has profoundly impacted contemporary society. It has enriched people's spiritual and cultural lives and injected new vitality into the cultural industry. To achieve sustainable growth in ACG culture, it requires the joint efforts of governments, enterprises, creators, and society. By strengthening the guidance and regulation of ACG culture, maximizing its advantages, and addressing its challenges, ACG culture can shine globally as a significant force in the cultural industry.

Terms and Expressions
• ACG Culture Secondary Dimension Culture
• Secondary Dimension 二次元
• Animation 动画
• Original Works 原创作品
• Intellectual Property Protection 知识产权保护
• Commercialization 商业化
• Cross-media Integration 跨媒体整合
• Comic Exhibition 漫展
• Goods 谷子
• Derivative Products 周边产品

Questions

1. What are the main characteristics of ACG culture? What impact has it had on Chinese youth?
2. What are the differences in the development of ACG culture between China and Japan?
3. What are the advantages and challenges of ACG culture?
4. How can the sustainable development of ACG culture be promoted?

Reference Answers

1.ACG culture is characterized by its rich storytelling, unique character settings, and exquisite visuals. It has captivated Chinese youth by offering a space for entertainment and social interaction, fostering a unique social culture where young people can connect with like-minded peers.
2. Japan is the origin of ACG culture, with a long history of comic exhibitions and game conventions. China has adopted and adapted this culture, integrating it with internet technology and creating original works that resonate with local audiences.
3. Advantages include a vast creative space, personalized and diverse culture, and a unique social culture. Challenges include potential violent and vulgar content, intellectual property protection issues, talent shortages, and market competition.
4. Sustainable development can be promoted through joint efforts of governments, enterprises, creators, and society. Strengthening guidance and regulation, maximizing advantages, and addressing challenges are key to fostering a sustainable growth environment for ACG culture.

References

[1] ACG culture - Baike Encyclopedia [EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30.
[2] Deep Exploration of the Definition and Explanation of ACG Culture - Hanlin International Education [EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26.
[3] Primary Exploration on the Differentiation of the Animation Industry Models of China, Japan and America in the Context of the Two-dimensional Culture [EB/OL]. https://www.atlantis-press.com/article/55910395.pdf.
[4]浅谈ACG文化的深层内涵与影响 - 翰林国际留学 [EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25.
[5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究 [J]. 大众文艺, 2017 (07): 255-256.

AI use

To help me with my final paper, I used the following AI chatbot: Kimi
I used the following tips:
1. I will write a paper on ACG Culture as an English textbook for the outline of Chinese culture, please list some literature that may be helpful to me for reading (before writing) and provide me with an outline
2. Please help me polish my essay (Is the language fluent?.Is the logic reasonable? Does the final paper meet the format requirements? ）
3.Please help me translate

As a result, I found the following issues:
1.The AI's reply did not distinguish the relationship between Chinese ACG culture and Japanese ACG culture
2.AI’s translation of some terms is not accurate

I made adjustments with the following:
Through my own understanding of the two-dimensional culture as a fan, and researching materials on the Internet on my own, I reviced the outline and terms trasnlation.In addition,I added content (such as Comic Exhibition, Goods) and finally completed the thesis.

二次元文化

摘要

本文探讨了二次元文化的兴起及其对现代社会的影响，介绍了其独特的特征和表现形式，分析了其在中国与日本的发展差异，并指出了二次元文化所面临的挑战与机遇。关键词：二次元文化；二次元；文化差异；挑战与机遇；未来发展

一、引言

随着互联网的迅猛发展，二次元文化应运而生，并迅速渗透到现代文化的各个层面。二次元文化是“动画（Animation）、漫画（Comic）、游戏（Game）”的缩写，作为一种独特的文化现象，它在年轻人中引起了极大的关注。在中国，二次元文化的市场规模不断扩大，吸引了众多忠实粉丝，其影响力已超越文化领域，延伸至更广泛的社会层面。在此背景下，研究二次元文化的特点及其对中国青年的影响显得尤为重要。同时，对比中日两国的二次元文化差异，可以更好地理解其在全球范围内的传播与演变。

二、二次元文化的现状与中国和日本的比较

二次元文化起源于日本，并逐渐传播到中国。日本作为二次元文化的发源地，长期以来一直举办漫画展览和游戏展。自20世纪初以来，日本的漫画和动画产业逐渐兴起，并在二战后迅速发展。手冢治虫的《铁臂阿童木》为日本动画产业奠定了基础。随着科技的进步，动画和漫画的制作质量不断提高，游戏产业在20世纪80年代崛起。任天堂的《超级马里奥》和《塞尔达传说》在全球取得了巨大成功，进一步推动了二次元文化的发展。

二次元文化在中国蓬勃发展，涵盖了动画制作、漫画创作、游戏开发以及衍生产品销售等多个领域。在政府政策的支持下，中国的二次元产业不断涌现出优秀的原创作品和具有影响力的IP形象，如《哪吒之魔童降世》。中国的二次元文化与互联网技术紧密结合，网络平台成为二次元作品传播的重要渠道，为创作者和爱好者提供了广阔的交流空间和创作平台。

中国还出现了线下二次元活动，如漫展和游戏展，这些活动已成为粉丝聚集和庆祝共同兴趣的重要平台。这些活动不仅加强了爱好者之间的社区感，还为文化市场注入了新的活力。二次元的周边产品，爱好者们常称之为“谷子”（因与英语“goods”谐音），已成为二次元文化的重要组成部分，专门的店铺和展览满足了这一细分市场的需求。

三、二次元文化的优势与挑战

二次元文化为创作者提供了广阔的创作空间和自由度，能够激发他们的想象力和创造力。无论是动画、漫画还是游戏，都可以通过丰富的故事情节、独特的角色设定和精美的画面吸引观众和玩家。同时，二次元文化能够满足年轻人对于个性化、多样化文化需求的追求，为他们提供了一个独特的娱乐和社交空间。在这个空间里，年轻人可以与志同道合的伙伴交流分享，结交朋友，甚至形成一种独特的社交文化。

然而，二次元文化也面临一些挑战。例如，部分二次元作品可能存在暴力、低俗等不良内容，对青少年的身心健康产生一定的负面影响。此外，二次元产业在发展过程中还面临着知识产权保护、人才短缺、市场竞争激烈等问题。尤其是在中国，二次元文化的商业化程度相对较低，与美国等发达国家相比，在品牌建设、市场推广和产业链整合等方面还存在一定的差距。

四、未来展望与结论

展望未来，随着互联网技术的不断进步和全球文化交流的日益频繁，二次元文化有望迎来更广阔的发展空间。一方面，中国的二次元产业将继续加强原创能力，挖掘本土文化资源，打造具有中国特色的二次元品牌；另一方面，中日等国的二次元文化将在相互交流与借鉴中不断发展，共同推动全球二次元文化的繁荣。

总之，二次元文化作为一种新兴的次文化现象，已经对当代社会产生了深远的影响。它不仅丰富了人们的精神文化生活，还为文化产业的发展注入了新的活力。然而，要实现二次元文化的可持续发展，需要政府、企业、创作者和社会各界共同努力，加强对二次元文化的引导和规范，充分发挥其优势，克服其面临的挑战，让二次元文化在全球范围内绽放更加绚烂的光彩。

术语和表达
• ACG Culture 二次元文化
• Secondary Dimension 二次元
• Animation 动画
• Original Works 原创作品
• Intellectual Property Protection 知识产权保护
• Commercialization 商业化
• Cross-media Integration 跨媒体整合
• Comic Exhibition 漫展
• Goods 谷子
• Derivative Products 周边产品

问题

1. 二次元文化的主要特点是什么？它对中国青年产生了什么影响？
2. 中国的二次元文化与日本的二次元文化在发展上有什么不同？
3. 二次元文化的优势和挑战是什么？
4. 如何促进二次元文化的可持续发展？

参考答案

1．二次元文化的主要特征包括丰富的故事情节、独特的角色设定和精美的视觉效果。它通过提供娱乐和社交的空间，吸引了中国青年，并促进了志同道合的年轻人之间的交流，形成了独特的社交文化。
2. 日本是二次元文化的发源地，有着悠久的漫画展览和游戏展的历史。中国则在引进这一文化的基础上进行了本土化的适应和发展，将其与互联网技术相结合，并创作出了符合本土观众口味的原创作品。
3. 二次元文化的优势在于它为创作者提供了广阔的创作空间，满足了年轻人对个性化和多样化文化的需求，并形成了独特的社交文化。面临的挑战包括可能存在的暴力和低俗内容、知识产权保护问题、人才短缺和市场竞争。
4. 要促进二次元文化的可持续发展，需要政府、企业、创作者和社会各界的共同努力。加强引导和规范，充分发挥其优势，并克服面临的挑战，是为二次元文化创造可持续发展环境的关键。

参考文献

[1] ACG文化 - 百度百科[EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30.
[2] 深入探讨ACG文化的定义与解释 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26.
[3] 二维文化视角下中日美动画产业模式差异的初步探讨[EB/OL]. https://www.atlantis-press.com/article/55910395.pdf.
[4] 浅谈ACG文化的深层内涵与影响 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25.
[5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究[J]. 大众文艺, 2017 (07): 255-256.

AI使用

为了帮助我完成期末论文，我使用了以下AI聊天机器人：Kimi
我使用了以下提示：
1.我将写一篇有关ACG Culture（二次元文化）的论文作为中国文化概要的英语教材，请列举一些可能对我有帮助的文献以供阅读（撰写之前），并为我提供大纲
2.请帮助我对我的文章进行润色（语言是否通顺？逻辑是否合理？是否满足论文格式要求？）
3.请帮助我完成翻译

结果我发现了以下问题：
1.AI的回复并未能够很好的分清中国二次元文化与日本二次元文化的关系
2.AI对部分术语的翻译不够准确
我通过以下措施进行了调整：
通过我自己作为粉丝对二次元文化的了解，并自行在网上搜集资料，重新修改了大纲和术语翻译，并添加了内容（如漫展，谷子）最后完成了论文

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper 蔡国强 Cai Guoqiang,a Chinese artist==

==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper 中国的拉郎现象：圣黛CP（孙悟空×林黛玉）The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple==

'''The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple'''

Ⅰ Introduction

The phenomenon of "Lalang CP" is a subcultural practice rooted in the concept of "CP." Firstly, "CP" originates from the English term "Coupling," initially used in Japanese ACGN (Animation, Comics, Games, Novels) fandoms, meaning "couple" or "paired characters." Secondly, the term "Lalang" means forcibly pairing two unrelated characters, derived from Chinese folk language (Wu Ennan, 2023, 1). Platforms such as Bilibili, known for fan culture, have seen unconventional pairings like Lin Daiyu × Voldemort, Lazy Goat × Ulanara Yixiu, and Lin Daiyu × Sun Wukong. This paper focuses specifically on the "St. Dai CP," combining Sun Wukong from "Journey to the West" with Lin Daiyu from "Dream of the Red Chamber," which represents a significant example of Lalang subculture. The analysis will examine the origins and development of this pairing, reasons behind its explosive popularity, and its cultural impacts.

Ⅱ Origin and Development of St. Dai CP

Lin Daiyu’s earliest Lalang pairing was not with Sun Wukong but rather Voldemort from Western literature. In 2011, after losing a bet, a writer composed a fanfiction story pairing Voldemort and Lin Daiyu titled "From Far Away, For You, the Burial of Flowers." In this story, Voldemort's soul traveled to Lin's mansion, sparking a dramatic cross-cultural romance. The narrative concluded tragically, with Voldemort sacrificing himself to briefly prolong Lin Daiyu’s life. The poignant sentiment, "You wandered the mortal world for thousands of years, only to let me glimpse you one last time," resonated profoundly, symbolizing an East-West fusion reminiscent of the tragic romance in "The Peony Pavilion."

This humorous yet touching scenario sparked criticism of Jia Baoyu’s reliability, prompting internet users to suggest better partners for Lin Daiyu from other literary works. On September 18, 2020, Bilibili content creator "Zixu" launched a video pairing Sun Wukong and Lin Daiyu titled "Marriage of Classics | Buddha Saves Everyone Except Me, I'd Rather Betray Buddha Than You." By 2022, it garnered 8.061 million views, recognized as one of Bilibili’s "85 Must-Watch Videos," and was celebrated as an iconic work of the Lalang genre. The video led to numerous fan creations and a substantial fanbase for "St. Dai," though it was later removed for unspecified reasons.

[[File:AExample.jpg]]

[[File:1Example.jpg]]

Since 2020, the "St. Dai" CP has sustained considerable popularity, accumulating over 1.2 billion views on Weibo. Liu Xiao Ling Tong, the actor who portrayed Sun Wukong in the 1986 "Journey to the West" TV series, publicly endorsed the pairing for its creativity, prompting an additional 87,000 related fan-made videos within one week. On June 5, 2025, Douyin, China’s largest streaming platform, saw another viral short video featuring the "St. Dai" CP, accumulating over 2.5 million likes and more than 140,000 comments within five days.

[[File:003.jpg]]

Ⅲ Reasons for the Explosive Popularity of St. Dai CP

Character Appeal
Firstly, the appeal stems from the contrasting personalities of the characters. Sun Wukong is a powerful and straightforward warrior, known as the "Victorious Fighting Buddha," whereas Lin Daiyu is the delicate and emotionally introspective "Fairy of Xiao Xiang." This pairing, characterized as a straightforward man paired with a sensitive woman, resonates strongly. Sun Wukong’s unwavering sincerity alleviates Lin Daiyu’s habitual melancholy. In popular clips, when Daiyu cries, Sun Wukong boldly intervenes: "Don't cry! Just tell me what's wrong. Master, I can’t bear seeing someone cry. If she's wronged, I'll sort it out!" Sun Wukong thus emerges as a better emotional partner than Jia Baoyu. Additionally, Daiyu’s fragile health contrasts with Sun Wukong’s strength and magical abilities, enabling him to protect and care for her, even defying death by removing her name from the Book of Life and Death. Their pairing is perceived as fitting due to their comparable iconic status—Sun Wukong as the quintessential male protagonist and Lin Daiyu as the archetypal female protagonist in classical Chinese literature, highlighting their compatibility.The evolution of character interpretation reflects the spirit of the era and embodies the collective emotional structure in a time of social transformation (Sun Ping 2020, 1).

Breaking the Sanctity of Classics
Contemporary youth actively reinterpret classical texts, innovating creatively and integrating tradition into modern life in novel ways. This unconventional pairing satisfies curiosity and symbolizes the classic "grass and stone" affinity—Lin Daiyu as the Crimson Pearl Flower spirit and Sun Wukong as the stone used to mend the heavens. Fans humorously speculate Lin Daiyu might have originally mistaken her destined stone. Importantly, creators maintain integrity by carefully recontextualizing original dialogues without distorting Sun Wukong’s noble character or Lin Daiyu’s intelligent melancholy.

[[File:004.jpg]]

Emotional Projection and Compensation
The popularity of "St. Dai CP" reflects modern youth’s emotional needs. Fan fiction frequently serves as a psychological outlet, compensating for deficiencies in real-life relationships. “However, beyond practicality, writing fanfiction is also a helpful way for people to understand their inner emotions, whether positive or negative…” (Aynur Akpinar 2006, 23).Sun Wukong’s unconditional devotion symbolizes ideal romantic relationships desired by contemporary audiences. This psychological mechanism parallels Japan’s Otome culture, wherein virtual relationships fulfill emotional needs unmet by reality.

Platform Catalysis
In recent years, with the increasing integration of literature, film, and online media, the cross-media dissemination and widespread popularity of literary classics have become a significant phenomenon. This trend continues to give rise to new artistic forms while also bringing classic literary works to a broader audience, revitalizing them with renewed vitality (Zhang & Hong 2025, 1). Digital platforms like Douyin and Bilibili, with their massive user bases and powerful dissemination capabilities, use algorithm-based recommendations tailored to user interests to rapidly present St. Dai CP content to potential viewers, accelerating its spread. These platforms also offer rich interactive features such as comments, bullet screens, and likes, fostering a community atmosphere that encourages communication and sharing among users. This transforms viewers from passive consumers into active participants in dissemination, with user-driven discussion and derivative creations further boosting the topic's visibility and triggering viral spread.

Ⅳ Impact of the St. Dai CP Phenomenon

Positive Effects
The "St. Dai CP" significantly enhances young audiences’engagement with classical literature. Entertaining reinterpretations provoke renewed interest in "Journey to the West" and "Dream of the Red Chamber," broadening creative boundaries and attracting commercial investment due to its popularity.

Potential Controversies and Reflection
Some scholars criticize the simplification of Sun Wukong’s rebellious spirit into a mere romantic protector and the reconfiguration of Lin Daiyu’s poetic tragedy into a damsel-in-distress narrative. Literary critic Li Jingze (2023) argues such reinterpretations diminish the core themes of rebellion against authority embedded in the original texts. This debate reflects broader tensions between "disenchanting classics" and "guarding cultural memory" in the digital era. Successful reinterpretations must balance innovation with fidelity to original narratives, avoiding reckless distortions.

Ⅴ Conclusion

In the digital age, the artistic subjects we encounter no longer exist solely in tangible physical spaces, but are also increasingly active and comprehensible to the public within digital networks and social platforms (Sean Lowry 2024, 1). Creative reinterpretations like "St. Dai CP" reflect young people's innovative approaches to classic narratives. While digital platforms play a crucial role in popularizing such trends, maintaining a respectful balance between innovation and authenticity is essential for preserving and revitalizing traditional cultural works.

Terms and Expressions

拉郎CP Lalang CP
同人小说 Fan fiction
跨次元组合 Cross-dimensional combination
角色形象 Character image
经典文化 Classical culture
情感投射 Emotional projection
二次创作 Secondary creation
平台算法 Platform algorithm

Question

1. What does "Lalang CP" mean?
2. Why are Sun Wukong and Lin Daiyu popular among netizens?
3. Which platform initially popularized the "St. Dai CP"?
4. From which two classic literary works do Sun Wukong and Lin Daiyu come?
5. What are generally considered the positive effects of the popularity of "St. Dai CP"?

References

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98.
[2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022.
[3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197.
[4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214.
[5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82.
[6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

中国的拉郎现象：圣黛CP（孙悟空×林黛玉）

一、引言

“拉郎CP”是根植于“CP”理念的“拉郞”亚文化实践。首先，CP一词源自于英文“Coupling”,最早运用于日本ACGN(动画漫画、游戏、小说)同人文化圈之中，意指“情侣”或“配成的一对”。其次，“拉郎”的含义是“拉郞配”,其名词来源于中国民间的俗语，指将本没有任何相关关系的人物强行配对(Wu Ennan 2023，1)。以同人文化的阵地B站为例，林黛玉X伏地魔、懒羊羊X乌拉那拉宜修、林黛玉X孙悟空等别具一格的CP层出不穷。而本文所讲述的“圣黛CP”则是《西游记》中的孙悟空与《红楼梦》中林黛玉的组合，该cp是拉郎文化中的代表性。接下来，笔者将具体阐述该cp的起源与发展，爆火原因，以及影响，从这三个层面进行分析。

二、圣黛CP的起源与发展

林黛玉最早的拉郎cp其实并不是孙悟空，而是来自西方伏地魔。2011年，一位文手与朋友打赌输了，抽签抽到写一篇伏地魔×林黛玉的同人文，于是便出现了伏黛的开山之作《来自远方为你葬花》。故事的开头是伏地魔灵魂穿越到遥远的林府之中，两人惊鸿一瞥，一见倾心。故事的结局是伏地魔强行给黛玉续命，最后灰飞烟灭。“你在尘世中辗转了千百年，却只让我看你最后一眼。”两人穿越时间与空间的苦恋，逆天而行却不得而终，堪称中西合璧的悲剧版《牡丹亭》。

这次玩笑，让网友们吐槽宝玉的不牢靠，纷纷开始跨作品为林妹妹物色更好的爱人。于是在2020年9月18日，由b站UP主“自叙”推出的“孙悟空×林黛玉《名著联姻|佛度众生不度我宁负如来不负卿》二创视频横空出世，2022年的浏览量便已达到806.1万，被收录于B站“入站必刷85大视频”，荣获“名著拉郎CP代表作品”成就，由此衍生出大量二创剪辑与“圣黛”粉丝。（后该作品由于不明原因下架）

从2020年后“圣黛”cp话题热度居高不下，微博话题阅读量超 12 亿，86 版《西游记》孙悟空扮演者六小龄童受访时对圣黛 CP 表示认可，称其有创意，该表态使得《西游记》相关二创视频一周新增 8.7 万条。
抖音是国内最大的流媒体平台，2025年6月5日抖音又爆了一条关于圣黛cp的短视频。截止到今日（2025.6.10）为止，该视频点赞量5天内破250万，评论数量超14万。

三、圣黛CP爆火原因

1.角色本身的吸引力
首先是性格的反差萌。孙悟空是武力值超高的“斗战胜佛” ，林黛玉是多愁善感的“潇湘妃子”，直球男x内耗女的设定，而面对悟空的赤诚专一，林妹妹终于不用以泪洗面，黛玉哭泣时，孙悟空会说：“你别哭了，有什么事赶紧说啊。师父，我最见不得人家哭了。她要是有什么不平事，尽管说出来，俺老孙替她做主。”在“圣黛CP”的视频中，孙悟空比贾宝玉更能接住林黛玉的种种小情绪。其次，黛玉体弱，而法力高强的孙悟空可以保护身体虚弱的她，也可以为她向太上老君寻药治病。流传在短视频上的“圣黛cp”剪辑片段中，黛玉即将离世，活不过第二天，孙悟空为此怒闯阎罗殿，在生死簿划掉林黛玉的名字。身份上，两人番位一致，就像网友所言，“孙悟空是四大名著第一男主，林妹妹是四大名著第一女主，这怎么不算门当户对呢？”孙悟空和林黛玉的角色形象被重新挖掘，重新探索，他们细致的人格得以被看见。对形象解读流变是时代的鉴照，是时代变革中集体情感结构的体现（Sun Ping 2020,1)。

2.经典神圣性的打破
当代年轻人对经典文化有着全新的态度。他们不再被动接受经典，而是主动解构、创新，通过二次创作赋予经典新的生命力。跨次元的组合既满足了年轻人的猎奇心理，也让传统文化以更轻松的方式融入现代生活。原本的木石情缘，就像网友说的，林黛玉是绛珠仙草，而孙悟空则是补天遗石的化身，这种一草一石，这何尝又不是一种“木石情缘”，“林妹妹当时一定是认错了石头”。二创作者并未扭曲孙悟空“已识乾坤大，犹怜草木青”的豁达襟怀，也没改变林黛玉“心较比干多一窍，病如西子胜三分”的聪慧沉郁，而是通过影视片段剪辑，让两者的台词自然契合。这是在熟读经典上的巧妙改编，而非乱编，胡编。

3.情感投射与代偿心理：
圣黛 CP 的流行反映了青年通过同人创作缓解现实压力的需求。粉丝常通过虚构关系弥补现实情感缺失，圣黛 CP 中孙悟空对黛玉的无条件守护，恰是现代青年对 “理想亲密关系” 的投射。“然而，除了实用性之外，撰写同人小说也是帮助人们理解内心情感的好方法，无论是积极的还是消极的……”(Aynur Akpinar 2006，23)现代快节奏且充满压力的生活中，许多人经常感到孤独和无助，内心深处渴望找到一种能够互补、带来温暖和庇护的亲密关系。而这种心理机制与日本 “乙女文化” 中对虚拟男性角色的情感寄托具有跨文化一致性。

4.平台的催化作用：
近年来，随着文学与影视、网络媒介的相互介入，文学经典的跨媒介传播与破圈发展已经成为一个显著现象，在不断催生新的文艺形态的同时，也促使文学经典作品走向更为广泛的受众群体，焕发出蓬勃的生命力。(Zhang&Hong 2025，1)抖音、B 站等平台拥有庞大用户群体与强大传播力，算法推荐机制依据用户兴趣精准推送，能迅速将圣黛 CP 相关内容呈现在潜在受众眼前，加速其传播扩散。平台上丰富的互动形式，如弹幕、评论、点赞等，构建起用户间交流分享的社区氛围，让受众从单纯观看者转变为传播参与者，用户自发讨论、二创衍生进一步推动话题热度攀升，形成传播裂变效应。

四、圣黛CP现象的影响

1.积极影响
首先对经典文学传播有相当大的积极作用，圣黛 CP 以娱乐化形式激发年轻群体对《西游记》《红楼梦》的兴趣，如 B 站二创视频带动原著相关搜索量，以娱乐化形式引发年轻群体对《西游记》《红楼梦》的兴趣，同人创作也推动经典文本的二次解读与文化出圈。其次，它拓宽拉郎创作的边界，也推动商业资本对热门CP的关注与潜在开发。

2.潜在争议与反思：
圣黛 CP 中孙悟空 “斗战胜佛” 的神性被简化为 “护妻狂魔”，林黛玉的诗性悲情被重构为 “被拯救者”，这种改编引发学界对经典角色符号价值的争议。文艺批评家李敬泽（2023）指出，二创将孙悟空的叛逆精神降维为 “恋爱脑”，实质是对原著 “反抗权威” 内核的消解。这种争议本质上是数字时代 “经典祛魅” 与 “文化记忆守护” 的博弈。拥有生命力的创意改编无不实现传统与创新的平衡。经典的传承不必墨守成规地照搬原典，但更不能枉顾原著精神地胡编滥造，而是要怀着敬畏之心，深挖原著内核后以现代语言重新书写。

五、结论

基于数字时代，我们所面临的艺术对象不仅存在于某种有形的物质空间，而且还在网络空间和社交平台上日趋活跃并逐渐为大众所理解和接受。(Sean Lowry 2024，1)圣黛CP的爆火，是年轻人用跨次元拉郎重构经典的文化实验。从B站二创到抖音传播，平台算法与用户创作共同推动这对CP破圈，既满足了现代青年对理想爱情的情感寄托，也让《西游记》《红楼梦》以更轻松的方式走近大众。这种创新改编在娱乐中激活了经典生命力，但也需在创意与原著精神间找到平衡，让传统文化真正实现年轻化传承。

双语

拉郎CP Lalang CP
同人小说 Fan fiction
跨次元组合 Cross-dimensional combination
角色形象 Character image
经典文化 Classical culture
情感投射 Emotional projection
二次创作 Secondary creation
平台算法 Platform algorithm

问题

1. “拉郎CP”的含义是什么？
2. 孙悟空与林黛玉为何会受到网友欢迎？
3. 是哪个平台最初推动了“圣黛CP”的火爆？
4. 孙悟空和林黛玉各自来自哪两本经典名著？
5. 一般认为“圣黛CP”的流行有哪些积极影响？

文献

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98.
[2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022.
[3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197.
[4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214.
[5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82.
[6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper 魅力城头山 Charming Chengtoushan==

==https://bou.de/u/wiki/User:Zhou_Zhengyuan#Final_Paper 滕王阁 Tengwang Pavilion ==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper 扬州炒饭 Yangzhou Fried Rice==

==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper 中国井盐 Chinese Well Salt==

202330092156 鲁盈馨 Lu Yingxin

Chinese Well Salt
Abstract: Salt, an indispensable non-metallic mineral resource, has been both an industrial foundation and daily essential. In Chinese culture, it ranks among "firewood, rice, oil, salt, sauce, vinegar, and tea". As the "pinnacle of flavors", it was extracted from seas, lakes, wells and mines, with well salt production showcasing ancient Chinese artisans' wisdom in drilling and brine utilization.

Key words: Well Salt Drilling Brine Extraction Brine Transportation Brine Lifting

Salt: The Quintessential Mineral Resource

[[File:Salt.jpg]]

Salt, the most universally utilized non-metallic mineral resource, serves as both an industrial cornerstone and a daily necessity. In the Chinese proverb "firewood, rice, oil, salt, sauce, vinegar, and tea," the term "salt" specifically refers to table salt, a ubiquitous mineral compound. Hailed as the "pinnacle of flavors," salt has been a crucial condiment since antiquity. Humans early on discovered that table salt could be extracted from seas, salt lakes, salt wells, and salt mines. Occasionally, when groundwater or subterranean rivers traverse salt deposits, the water becomes saturated with salt, forming natural brine. By digging wells to collect this brine, ancient peoples pioneered salt extraction. Well salt, defined as salt produced by pumping underground brine (either naturally formed or generated by salt mine ), is extracted from vertical shafts known as salt wells.

The Ingenuity of Well Salt Production
Among ancient salt-making techniques, well salt production stood out for its complexity, embodying the ingenuity of ancient Chinese artisans. The technology evolved over millennia: as early as the late Warring States Period (475–221 BCE), Li Bing, Governor of Shu County, initiated salt well digging in the Chengdu Plain to extract brine for evaporation. Early wells featured large diameters, unstable walls without reinforcement, and shallow depths, limiting extraction to superficial brine. By the mid-Northern Song Dynasty (960–1127), Zhuotong Wells emerged in southern Sichuan—these narrow-bore deep wells utilized a "one-character shaped" drill bit to crush rock via impact. Water was injected or harnessed to flush cuttings, which were extracted with bamboo tubes. With a well diameter no larger than a bowl, Zhuotong Wells minimized collapse risks. Craftsmen further reinforced wells by sinking casings made from jointed nanzhu bamboo poles, wrapped in hemp ropes and sealed with oil putty to prevent wall collapse and freshwater infiltration. Brine extraction employed slender bamboo tubes fitted with a check valve of cured leather at the base, each capable of holding several dou (a traditional unit) of brine. Above the well, a massive wooden frame supported a windlass-pulley system for lifting brine.The advent of Zhuotong Wells marked the maturity of ancient China’s deep-well drilling technology. Well depths continued to increase, culminating in 1835 during the Qing Dynasty’s Daoguang reign, when the Shenhai Well in Zigong, Sichuan, became the world’s first well exceeding 1,000 meters.

Drilling: The Foundation of Well Salt Production

[[File:Salt Well.jpg]]

Unlike sea salt or lake salt, well salt lies buried underground, making drilling technology decisive. In the late Warring States Period, artisans dug large-mouthed shallow wells by manual labor to access shallow brine. The Northern Song Dynasty revolutionized drilling with the "impact percussion method," where workers operated treadles to drive drill bits in vertical strokes, breaking rock to deepen wells. The process included site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—technologically akin to modern oil and gas extraction. This method pioneered mechanical drilling, enabling exploitation of deep brine reserves. By 1835, the Shenhai Well, excavated via this technique, symbolized the zenith of ancient drilling proficiency. Renowned for its compact footprint, low cost, and high efficiency, the impact method remains in use today.

Brine Extraction: From Well to Surface

[[File:Well Salt Production.jpg]]

Early brine extraction mirrored well-water drawing, but post-Song Dynasty innovations introduced the brine-extracting tube: a node-removed bamboo cylinder smaller than the well bore, fitted with a cured cowhide check valve. Lowered to the well bottom, the valve opened to admit brine; when lifted, internal pressure sealed the valve, trapping the brine. Equipped with fixed pulleys and a brine rope, the Tianche harnessed oxen to operate the lifting system.
Brine Transportation: Overcoming Distance
Initially, brine was transported short distances to nearby salt stoves. As the industry advanced, a need arose to transport brine to natural gas fields—thus the "relocate brine for evaporation" strategy drove technological innovation. The ancients devised bamboo pipelines (Zhujian) and brine storage pits (Jianwo) for long-distance transport. Zhujian consisted of hollowed bamboo tubes bound with strips and sealed with putty, connected to form pipelines that used pressure difference and communicating vessels to carry brine 5–10 kilometers. Unable to make sharp turns, Zhujian relied on Jianwo—bamboo-wood storage containers that redirected flow, reduced pipeline pressure, settled impurities, and cleared blockages.

Brine Lifting: Conquering Terrain

[[File:Brine Lifting.jpg]]

Where terrain caused pipeline inlets to sit lower than outlets, brine lifting stations emerged to increase hydraulic head. These stations housed well carts driven by mules or horses, which vertically lifted brine to overcome elevation gaps, enabling cross-mountain transport and resolving the brine-fuel spatial mismatch.

Brine Concentration: Enhancing Efficiency
To increase brine salinity, lifting stations delivered brine to elevated Zhitiaojia (branch frame) concentration towers—sunlight- and wind-exposed platforms that evaporated water, concentrated brine, reduced fuel use, and purified salt. Optimal evaporation required constructing towers in high, open, sunlit locations.

Brine Boiling: The Final Transformation
Historically termed "boiling," "frying," or "stewing," well salt production culminated in evaporation. Brine was transported to natural gas-fed salt kitchens, where fuel-efficient evaporation yielded crystalline salt.

Ancient China’s complete drilling and salt-making system made profound contributions to human civilization and global science. Introduced to Europe, these technologies fueled mineral exploration worldwide, advancing drilling techniques and subterranean resource exploitation.

Terms and expression
1.Well salt
Well salt refers to the salt extracted from salt wells, produced by pumping underground brine (naturally formed or generated by salt mines) and processing it through evaporation and other techniques.

2.Zhuotong Wells
Zhuotong Wells were narrow-bore deep wells that emerged in southern Sichuan during the mid-Northern Song Dynasty. They used a "one-character shaped" drill bit to crush rocks via the impact method, marking the maturity of ancient deep-drilling technology.

3.Impact percussion method
The Impact percussion method was an innovative drilling technology in the Northern Song Dynasty. It involved workers operating treadles to drive drill bits in vertical strokes, smashing rocks to deepen wells, similar to modern oil and gas extraction techniques.

4.Shenhai Well
Completed in Zigong, Sichuan in 1835 (during the Daoguang reign of the Qing Dynasty), Shenhai Well was the world’s first salt well exceeding 1,000 meters, symbolizing the pinnacle of ancient drilling technology.

5.Brine-extracting tube
The Brine-extracting tube was a bamboo device used for brine extraction after the Song Dynasty. Fitted with a cowhide check valve at the base, it opened to absorb brine when lowered and sealed to trap brine when lifted.

6.Zhujian
Zhujian were ancient bamboo pipelines for brine transportation. Using the principle of pressure difference and communicating vessels, they could extend 5–10 kilometers and required coordination with brine storage pits (Jianwo).

7.Jianwo
Jianwo were bamboo-wood storage containers for brine, used to transfer brine, reduce pipeline pressure, settle impurities, and clear blockages, assisting Zhujian in long-distance transportation.

8.Zhitiaojia
Zhitiaojia, or brine concentration towers, were open-air platforms built at high altitudes. They utilized sunlight and wind to evaporate water, concentrate brine, reduce fuel consumption during salt boiling, and purify salt.

9.Tianche
Tianche was a mechanical device for lifting brine in well salt production. Composed of fixed pulleys and brine ropes, it harnessed oxen to drive the pulley system for brine extraction.

10. "Relocate brine for evaporation" strategy
The "relocate brine for evaporation" strategy referred to transporting brine to natural gas production areas for salt evaporation, resolving the spatial mismatch between brine and fuel, and promoting innovation in brine transportation technology.

Questions
1.What was the significance of Zhuotong Wells in the history of ancient Chinese well salt production?
The Zhuotong Wells, emerging in mid-Northern Song Dynasty (960–1127) in southern Sichuan, marked a pivotal advancement in ancient Chinese well salt production. They introduced narrow-bore deep drilling with a "one-character shaped" drill bit, using impact percussion to crush rock. This technique minimized well collapse risks by reducing the bore diameter to bowl-sized dimensions and reinforcing walls with nanzhu bamboo casings sealed by hemp ropes and oil putty. The innovation of bamboo brine-extracting tubes with leather check valves, coupled with windlass-pulley systems, enabled efficient deep brine extraction. Zhuotong Wells pioneered the world’s earliest deep-well drilling technology, laying the foundation for subsequent advancements, such as the Shenhai Well’s 1,000-meter depth in the Qing Dynasty.

2.How did the "Impact percussion method" revolutionize well drilling technology during the Northern Song Dynasty?
The Northern Song’s "Impact percussion method" transformed drilling by introducing mechanical vertical strokes. Workers operated treadles to drive drill bits, breaking rock layer by layer to deepen wells. The process included systematic steps: site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—paralleling modern oil and gas extraction techniques. This method replaced manual shallow digging with mechanical efficiency, enabling access to deep brine reserves. It pioneered the use of drill bits for rock fragmentation, reducing labor intensity and increasing well depth feasibility. By 1835, this technique culminated in the Shenhai Well, demonstrating its legacy in advancing subterranean exploration.

3.What is the structural design of the "Brine-extracting tube," and how does it function to collect brine?
The brine-extracting tube was a bamboo cylinder with nodes removed, smaller than the well bore. At its base, a cured cowhide check valve was installed. When lowered to the well bottom, the valve opened due to water pressure, allowing brine to enter. As the tube was lifted, internal brine pressure pushed the leather valve shut, trapping the brine inside. This design leveraged hydrostatic pressure and one-way flow, enabling efficient brine collection. Paired with fixed pulleys and brine ropes, the system (e.g., Tianche) used oxen to operate the lifting mechanism, streamlining the extraction process.

4.How did the ancient Chinese use Zhujian and Jianwo to transport brine over long distances?
Zhujian (bamboo pipelines) were hollow bamboo tubes bound with strips and sealed with putty, forming continuous pipelines. Using pressure difference and communicating vessels, they transported brine 5–10 kilometers. Due to inflexibility, Jianwo (brine storage pits)—bamboo-wood containers—were built to redirect flow, reduce pipeline pressure, settle impurities, and clear blockages. Jianwo acted as intermediate stations, balancing hydraulic pressure and ensuring steady flow. Together, Zhujian and Jianwo overcame topographical barriers, enabling brine transport from wells to natural gas fields for evaporation.

5.What was the purpose of the "relocate brine for evaporation" strategy in well salt production?
The "relocate brine for evaporation" strategy aimed to solve the spatial mismatch between brine sources and fuel (natural gas) fields. By transporting brine to areas with abundant natural gas, producers optimized energy use, reducing the need to transport heavy fuel to remote wells. This strategy enhanced efficiency by centralizing evaporation at gas-rich sites, minimizing labor and material costs. It also facilitated large-scale production, as natural gas provided a more stable and powerful fuel source than traditional firewood, improving salt yield and quality.

6.Why is the Shenhai Well in Zigong considered a milestone in ancient drilling technology?
The Shenhai Well in Zigong, completed in 1835 during the Qing Dynasty, became the world’s first well exceeding 1,000 meters (1,001.42 meters). Drilled using the Northern Song’s impact percussion method, it demonstrated the pinnacle of ancient deep-well technology. Its depth surpassed contemporary global standards, showcasing China’s advanced drilling proficiency. The well integrated innovations like bamboo casing, brine-extracting tubes, and pulley systems, embodying the culmination of millennia of technological refinement. Its legacy influenced later mineral exploration, as its techniques were introduced to Europe, advancing global drilling and subterranean resource exploitation.

References
[1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46.
[2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23.
[3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35.
[4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006.
[5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020.

中国井盐

引言：盐，这种不可或缺的非金属矿产资源，既是工业基石，也是日常生活的必需品。在中国文化中，它位列 “柴米油盐酱醋茶” 之中。作为 “百味之祖”，人类早年便从海洋、湖泊、盐井和盐矿中提取食盐，而井盐生产则彰显了中国古代工匠在钻井技术与卤水利用方面的智慧。

关键词：井盐、钻井、卤水抽取、卤水输送、卤水提升

盐：不可或缺的矿物资源
盐，作为全球应用最广泛的非金属矿物资源，既是工业基石，也是日常生活的必需品。中国谚语 “柴米油盐酱醋茶” 中的 “盐” 特指食盐，一种无处不在的矿物化合物。盐被誉为 “百味之冠”，自古以来便是重要的调味品。人类很早就发现，食盐可从海洋、盐湖、盐井和盐矿中提取。当地下水或地下暗河穿过盐矿时，水体因充分溶解盐分而形成天然卤水，古人通过挖井收集卤水，开创了食盐开采的先河。井盐即通过凿井抽取地下卤水（天然形成或盐矿注水后生成）制成的盐，而用于生产井盐的竖井被称为盐井。

井盐制作中的东方智慧
在古代制盐工艺中，井盐生产以其复杂性独树一帜，彰显了中国古代工匠的卓绝智慧。这一技术历经千年演进：早在战国晚期（公元前 475-221 年），秦国蜀郡太守李冰便在成都平原开凿盐井，汲卤煎盐。早期盐井口径较大，井壁缺乏加固且易坍塌，加之深度有限，只能开采浅层卤水。北宋中期（960-1127 年），川南地区出现了卓筒井 —— 这种小口深井采用 “一字型” 钻头冲击破碎岩石，借助注水或地下水力，以竹筒汲出岩屑与水。卓筒井口径仅碗口大小，极大降低了井壁坍塌风险。工匠们还将大楠竹去节套接，外缠麻绳并涂以油灰，沉入井中作为套管，防止井壁塌陷与淡水渗入。取卤时使用细竹制成的汲卤筒，筒底以熟皮为启闭阀门，单筒可汲卤数斗，井上竖大木架，通过辘轳与滑轮系统提升卤水。卓筒井的出现标志着中国古代深井钻凿技术的成熟。此后盐井深度持续增加，直至清道光十五年（1835 年），四川自贡盐区钻出燊海井，成为当时世界上第一口深度超千米的深井。

钻井：井盐生产的根基
有井才有盐 —— 不同于溶于水体的海盐与湖盐，井盐埋藏于地下，钻井技术因此成为生产的关键。战国晚期，先民已通过人力挖掘大口浅井获取浅层卤水。北宋时期发明的 “冲击式凿井法”，通过人工踩踏碓梢使钻头在井内做垂直往复运动，冲击井底岩石以加深井身。其工序包括定井位、开井口、下石圈、凿大口、下木柱、凿小眼等，与现代油气开采技术原理相通。这一方法将钻井技术从人工挖掘推向机械钻探，开创了人类机械钻井的先河，使深层卤水资源的开发成为可能。历经不断完善，1835 年采用该法开凿的燊海井以超千米深度，标志着中国古代钻井技术的巅峰。冲击式凿井法因占地小、成本低、效率高等优势沿用至今。

汲卤：从井下到地表的输送
早期卤水煎盐与普通水井提水无异，但宋代以后，随着冲击式凿井法的应用，汲卤筒应运而生。这种小于井径的去节竹筒，底部装有熟牛皮制成的单向阀。将汲卤筒沉入井底时，卤水冲开阀门入筒；提升时筒内卤水压力使阀门闭合，从而完成汲卤。提卤动力源自 “天车”—— 井口上方由数百根轻质耐腐杉木捆扎而成的百米木架，天车上下安装定滑轮，通过汲卤绳连接，以牛力牵引提卤。

输卤：跨越地理的智慧
早期井盐多在井旁设灶煎煮，卤水运距极短且技术简单。随着盐业发展，出现了卤水资源丰富区与天然气产区分离的矛盾，“移卤就煎” 的需求推动输卤技术革新。古人以竹笕与笕窝实现卤水长距离输送：竹笕是打通竹节的输卤管道，外以篾条或棕绳捆扎并涂油灰增强强度，多节竹笕首尾相连，利用压差与连通器原理将卤水输送至 5-10 公里外的天然气产区。因竹笕无法急转弯，又发明了由竹管与木板制成的笕窝 —— 这种卤水储存容器既能转换输卤方向、缓解管道压力，又可沉淀杂质、疏通管道。

提卤：征服地形的高差
输卤过程中，若管道入口低于出口，需通过 “提卤站” 提升水位以形成压差动力。提卤站内设井车，以骡马驱动将卤水从低处垂直提升至高处，实现卤水翻山越岭的远距离输送，彻底解决了卤源与燃料的空间矛盾。

浓卤：蒸发工艺的精进
为提高卤水浓度，提卤站将卤水输送至晾晒场高架的枝条架浓卤塔（晒卤台），借助风力与太阳能蒸发水分，达到浓缩卤水、节约燃料、净化卤质、提升盐品的目的。为优化蒸发效率，浓卤塔多建于地势高敞、光照充足处。

煎卤：结晶成盐的终章
历史上井盐制作被称为 “煮盐”“煎盐” 或 “熬盐”，恰如其分地体现了蒸发制盐的工艺本质。卤水被输送至天然气产区的灶房，以天然气为燃料熬煮，最终结晶成盐。
中国古代完整的钻井与制盐技术体系，为人类文明与世界科学进步作出了深远贡献。这一技术传入欧洲后，在全球矿产勘探中广泛应用，有力推动了世界钻井技术发展与地下资源开发。

术语表达
1. Well salt
井盐，指通过抽取地下卤水（天然形成或盐矿产生）并经蒸发等工艺制成的盐，从盐井中提取。
2. Zhuotong Wells
卓筒井，北宋中期在四川南部出现的窄口径深井，采用 “一字型” 钻头通过冲击法破碎岩石，是古代深钻技术成熟的标志。
3. Impact percussion method
冲击钻探法，北宋时期革新的钻井技术，通过工人踩踏踏板驱动钻头垂直冲击岩石，加深井深，类似于现代油气开采技术。
4. Shenhai Well
燊海井，1835 年（清道光年间）在四川自贡建成，是世界上第一口深度超过 1000 米的盐井，象征古代钻井技术的巅峰。
5. Brine-extracting tube
汲卤筒，宋代以后用于提取卤水的竹筒装置，底部装有牛皮止回阀，下放时阀门打开吸入卤水，提升时密封卤水。
6. Zhujian
竹笕，古代用竹筒制成的输卤管道，通过压差和连通器原理运输卤水，可延伸 5-10 公里，需配合储卤坑（Jianwo）使用。
7. Jianwo
储卤坑，竹木结构的卤水储存容器，用于中转卤水、降低管道压力、沉淀杂质及疏通堵塞，辅助竹笕长距离运输。
8. Zhitiaojia
枝架，卤水浓缩塔，建在高处的露天平台，利用阳光和风力蒸发卤水，提高盐浓度，减少煮盐时的燃料消耗。
9. Tianche
天车，井盐生产中用于提升卤水的机械装置，由固定滑轮和卤绳组成，借助牛力驱动滑轮系统完成提卤。
10. "Relocate brine for evaporation" strategy
“移卤就灶” 策略，指将卤水运输到天然气产区进行蒸发制盐，解决卤水与燃料的空间不匹配问题，推动输卤技术创新。

问题
1.卓筒井在中国古代井盐生产史上的意义是什么？
卓筒井于北宋中期（960–1127 年）出现于四川南部，是中国古代井盐生产的关键突破。其采用 “一字型” 钻头的小口深井冲击钻探法，通过冲击破碎岩石。该技术将井口直径缩小至碗口大小，并用楠竹套管（以麻绳和油灰密封）加固井壁，降低坍塌风险。带皮革单向阀的竹制汲卤筒与辘轳滑轮系统的创新，实现了深层卤水的高效采集。卓筒井开创了世界最早的深井钻探技术，为清代燊海井突破千米深度等后续发展奠定了基础。

2.北宋时期的 “冲击钻探法” 如何革新了井盐钻井技术？
北宋的 “冲击钻探法” 通过引入机械垂直冲击革新了钻井技术。工人踩动踏板驱动钻头，逐层破碎岩石以加深井深，流程包括选址、开挖井口、安装石圈、大口径钻探、木桩支护及小口径精修，与现代油气开采技术原理相似。该方法以机械效率取代手工浅挖，实现了深层卤水的开采，开创了利用钻头破碎岩石的先河，降低劳动强度并提升深井可行性。1835 年燊海井的成功印证了其在推动地下资源勘探中的深远影响。

3.“汲卤筒” 的结构设计是怎样的？它如何实现卤水的采集？
汲卤筒是去节的竹制圆筒，直径小于井眼，底部装有熟牛皮单向阀。当筒下放至井底时，水压使阀门开启，卤水流入；提升时，筒内卤水压力压迫皮革阀关闭，锁住卤水。该设计利用流体静压和单向流通原理实现高效采卤。配合定滑轮与卤绳，通过 “天车” 等系统借助牛力驱动提升装置，简化采集流程。

4.古代中国人如何利用竹笕（Zhujian）和储卤坑（Jianwo）实现卤水的长距离运输？
竹笕（Zhujian）是用竹条捆绑、油灰密封的空心竹管，连接成连续管道，利用压差和连通器原理输送卤水 5–10 公里。因竹笕无法急转弯，故设置储卤坑—— 竹木结构的容器，用于分流、减压、沉降杂质及疏通堵塞。作为中间站点平衡水压，保障流量稳定。二者结合克服地形障碍，实现卤水从盐井到天然气灶场的运输。

5.井盐生产中 “移卤就灶” 策略的目的是什么？
“移卤就灶” 策略旨在解决卤水产地与燃料（天然气）场的空间错配问题。通过将卤水运输至天然气富集区，生产者优化能源利用，减少向偏远盐井运输笨重燃料的需求。该策略通过在产气区集中煎盐提升效率，降低人力与物料成本，同时因天然气较传统木柴更稳定高效，可提高盐产量与品质，推动规模化生产。

6.为何自贡燊海井被视为古代钻井技术的里程碑？
自贡燊海井于清代道光年间（1835 年）建成，是世界上第一口超千米（1001.42 米）的深井。其采用北宋冲击钻探法，代表古代深井技术的巅峰，深度超越同时期全球水平，彰显中国先进的钻井能力。该井集成竹套管、汲卤筒、滑轮系统等创新，凝聚千年技术精华。其技术传入欧洲后影响后世矿产勘探，推动全球钻探与地下资源开发，故成为古代钻井技术的里程碑。

参考文献
[1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46.
[2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23.
[3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35.
[4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006.
[5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020.
我保证在本课程期末论文写作过程中未使用人工智能辅助工具

==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper 中国水墨画留白美学 The Aesthetics of “Negativve Space”in Chinese Ink Painting==

Negative Space: The Breathing Rhythm of Chinese Art

I. Emptiness as Universe
In Ma Yuan’s Fishing Alone on a Cold River(Song Dynasty), a solitary boat floats on silk blanketed by 70% negative space. This void embodies Guo Xi’s principle: "To manifest a mountain’s height, veil its waist with mist". Negative space (liúbái) here transforms into clouds, rivers, and sky—a realm where meaning germinates. As Qing critic Hua Lin noted: "White is the paper’s whiteness—the mountain’s sunlit plane, the sky beyond the frame—all belong to this whiteness."
[[File:hanjiangdudiaotu.jpg]]

II. Philosophical Foundations
1. Daoist "Non-Being"
Ni Zan’s Rongxi Studio translates Laozi’s teaching—"A room’s usefulness lies in its empty space"—into an ink-washed Taihu Lake. The blank water symbolizes Zhuangzi’s "empty room generates light," where vitality flows in formlessness.
[[File:rongxizhaitu.jpg]]

2. Zen "Emptiness"
Liang Kai’s Splashed Ink Immortal hides facial features in ink clouds. Like Zen koans, its negative space invites satori (sudden enlightenment). D.T. Suzuki called it "the breath of the soul".
[[File:pomoxianrentu.jpg]]

3. Confucian Harmony
Wen Zhengming’s Studio of True Appreciation* balances study and mountains with misty blankness, reflecting The Book of Rites’ ideal: "Harmony positions heaven and earth."Negative space here moderates excess, embodying Confucian restraint.
[[File:zhenhezhaitu.jpg]]

III. Technical Evolution ：Five Classical Paradigms of Negative Space in Chinese Ink Painting

In Fan Kuan’s Northern Song masterpiece *Travelers Among Mountains and Streams*, the "Mist-Locked Waist" (烟霞锁腰) technique pioneered the use of horizontal negative space at mountain midriffs. By interrupting ridgelines with blank voids, these areas transformed into drifting clouds, amplifying Mount Zhongnan’s precipitous grandeur while shrouding it in ethereal mystery. Xia Gui of the Southern Song elevated this spatial wisdom in *Pure and Remote View of Streams and Mountains*. His "Water-Mirror Emptiness" (水镜涵虚) method rendered midgrounds as expansive voids – punctuated by distant sails and islets – that dissolved boundaries between sky and water, creating boundless Zen-inspired realms where light and clouds merged in liquid reflection.

The Qing dynasty’s Bada Shanren revolutionized the art in *Fish at Play*. Through "Broken Strokes, Unbroken Spirit" (笔断意连), fish tails dissolved into emptiness with fading ink, their open-fin lines implying current flow. This kinetic suggestion materialized Zhuangzi’s philosophical parable of "fish joy" (鱼乐) into visual poetry where form and void breathed as one. Yuan artist Wang Ming forged a divergent path in *Ink Plum Blossoms*. His "Snow-Window Clarity" (雪窗莹澈) paradigm left silk backgrounds untouched, while dry-brush strokes sketched plum branches as sparse as frost. Against this wintry purity, blossoms emerged as icy jewels, their isolation crystallizing the scholar’s unyielding spirit.

When Wen Zhengming inscribed colophons for *The Studio of True Appreciation*, he perfected "Scholarly Spacing" (书卷布白). Strategic placement of text blocks created rhythmic "breaths" between characters, widened line spacing evoked parchment’s texture, and vermilion seals anchored voids – fusing poetry and painting into a single pulse of literati elegance.

These five paradigms trace negative space’s evolution from Tang to Qing: Song monumental landscapes birthed mist and water illusions; Ming loyalists transmuted them into philosophical vessels; scholar-painters ultimately refined them into emblems of refined solitude. Together, they embody the artistic truth: "Negative space is no void, but the pivotal mechanism of world-making."
IV. Contemporary Transformations
1. Graphic Design
Kan Tai-keung’s poster *Free* suspends a seal in void space, modernizing the proverb "Contain universe in a mustard seed".
[[File:zizai.jpg]]

2. Architecture
I.M. Pei’s Suzhou Museum frames "rock paintings" through moon gates, where blank walls become Ni Zan’s scroll. The void borrows scenery (jièjǐng), turning space into a walking meditation.
[[File:pianjiashishan.jpg]]

3. Cinema
In Crouching Tiger, bamboo fight scenes dissolve into monochrome, turning action into living ink wash. Zhang Yimou’s Shadow uses monochrome blanks as metaphors for power.
[[File:yin.jpg]]

Epilogue
Negative space embodies China’s gentle compromise with the cosmos. From Ni Zan’s desolate lake to Wu Guanzhong’s white-walled villages, it remains the poetic dwelling of Eastern spirit. In an age of saturation, only those who leave space can hear the echoes of thought and the breath of soul.

References

1. KONG Wencheng."The Art of Negative Space in Chinese Painting and Its Aesthetic Value"[J]. *World of Calligraphy and Painting*, 2025(1). // Traces historical development and applications across three painting genres
2. ZONG Baihua.The Realm of Art* [M]. Peking University Press, 1987. // Explores "Where emptiness resides, spiritual energy flows"
3. WANG Fengxin."Brief Discussion on Beauty Creation through Negative Space in Chinese Painting" [J]. *Academic Forum, 2023. // Analyzes five techniques and their Daoist/Zen connections
4. SONG Yu."Negative Space: The Artistic 'Sanctuary' of Chinese Literati"[N]. Wenhui Daily, 2023. // Interprets Ni Zan's scholarly spirit in blank spaces
5. ZHU Liangzhi.True Water Has No Scent[M]. Peking University Press, 2009. // Examines Zen structure in Bada Shanren's spatial composition
6. James CAHILL.Hills Beyond a River[M]. SDX Joint Publishing, 2009. // Comparative study of Song-Yuan landscape voids
7. Palace Museum (Ed.).Harmony of All Creatures: Special Exhibition Catalog of Animal Paintings [M]. Palace Museum Press, 2025. // Case study: Ink Grapes in bird-and-flower painting
8. CHENG Guodong.Dynamics in Ink: Water Margin Woodcuts since Late Ming[M]. Shanghai People's Fine Arts Publishing, 2025. // Analyzes Chen Hongshou's figure painting techniques
水墨留白：中国艺术的呼吸之道
一、空纳万境：留白的美学密码
南宋马远的《寒江独钓图》中，一叶孤舟浮于绢素，七成画面留白。这看似虚无的空白，实则是北宋郭熙“山欲高，烟霞锁其腰”的智慧实践——以“无”构建寒江的苍茫宇宙，引导观者在空白中听见风声、感知天地寂寥。留白绝非空缺，而是“计白当黑”的主动经营：空白处可化云烟、流水、天空，甚至成为意境的生发之地。如清代华琳《南宗抉秘》所言：“白即纸素之白，凡山石之阳面处，画外之水天空阔处，皆此白也。”

二、哲学根基：道禅儒的思想墨痕
1. 道家之“无”的宇宙观
老子“凿户牖以为室，当其无，有室之用”的哲思，在倪瓒《容膝斋图》中化为太湖的空白。水面不着一笔，却似庄子“虚室生白”的隐喻——空白处涌动未形之物的生命力。道家“有无相生”的辩证思维，使留白成为“道”的视觉化身，在虚无中包蕴无限可能。

2. 禅宗之“空”的顿悟
梁楷《泼墨仙人图》）中，仙人袍袖飞白如云，五官隐于混沌。这种“不立文字”的表达，恰如禅宗公案：空白是棒喝前的静默，待观者顿悟画外之音。日本学者铃木大拙评其：“留白是心灵的呼吸”，空白处即禅心映照之地。

3. 儒家“中和”的调和
文徵明《真赏斋图》以云气留白衔接书斋与远山，体现《礼记》“致中和，天地位焉”的秩序感。留白在此成为虚实平衡的调节者，避免画面过满，契合儒家“过犹不及”的节制美学。

三、技法演化：五类留白范式

北宋范宽在《溪山行旅图》中开创的"烟霞锁腰"范式，通过在山腰处施以横向留白阻断山势轮廓，使空白自然转化为流动云气，不仅强化了终南山险峻高耸的视觉冲击，更营造出云雾缭绕的森然气象。南宋夏圭则将这种空间智慧推向新境，在《溪山清远图》中以"水镜涵虚"手法处理中景，大片空白经帆影点缀化为意象水体，天光云影倒映其中，消弭了天水界限，构筑出空明无界的禅意空间。至清初八大山人笔下，留白技法产生质变，《鱼乐图》中"笔断意连"的创造实践使游鱼尾部墨色渐淡融于空白，未闭合的鳍尾线条暗示水流方向，以虚笔延展动态，将庄子"鱼乐"哲思转化为物境相融的视觉诗篇。元代王冕的《墨梅图》则另辟蹊径，素白绢底不施渲染的"雪窗莹澈"范式，以飞白笔法勾勒疏落如雪的墨梅，在零下视觉温度感中铸就寒梅傲骨的人格象征，莹澈空白衬出冰魄玉魂的孤高之境。而明代文徵明在《真赏斋图》题跋中展现的"书卷布白"范式，通过经营题跋位置留出气口、扩大行距、朱文印章平衡空白等手法，使文字与图像形成呼吸韵律，在书画互释的节奏美中凝结成文人雅逸的精神图腾。这五种范式浓缩着唐至清的留白演进史：北宋全景山水奠基的烟霞水镜之法，在遗民画家笔下蜕变为笔断意连的哲思载体，最终于文人画中结晶为雪窗书卷的雅逸之境，共同诠释着"留白非空，乃造境枢机"的艺术真谛。

四、当代转译：留白的生命力
1. 视觉设计的“墨韵新声”
靳埭强海报《自在》将朱砂印章悬于大片留白中，如宇宙微尘，演绎“纳须弥于芥子”的现代版。空白在此超越装饰，成为东方哲思的视觉转译。

2. 建筑空间的“虚实借景”
苏州博物馆“片石假山”：贝聿铭以粉墙为纸，山石为墨，月洞门框出虚空。门后无实景，却以“虚空借景”呼应倪瓒的太湖留白，让观者在行走中感受时空流动。

3. 电影语言的“水墨韵律”
《卧虎藏龙》竹海打斗场景，李安以慢镜头虚化背景，武舞化作绢本上的水墨晕染。张艺谋《影》的黑白影调，更是将留白升华为权力博弈的隐喻。
结语：
留白是中国人对宇宙的温柔妥协——当西方艺术追求满幅的感官征服时，东方智慧在素绢的空白处埋藏密钥。从倪瓒荒寒的太湖到吴冠中《双燕》中的粉墙黛瓦，留白始终是东方精神的诗意栖居。它不仅是艺术语言，更是一种生命态度：在信息过载的时代，懂得留白的人生，方能容纳思想的回响与灵性的呼吸。
参考文献
1. 孔文成.《中国画中的留白艺术及其美学价值》[J]. 书画世界，2025(1). // 定义留白的历史脉络与三类题材应用
2. 宗白华.《艺境》[M]. 北京大学出版社，1987. // 阐释“空白处即灵气往来之所”
3. 王凤欣.《小议中国画“留白”造美》[J]. 学术论坛，2023. // 分析五类留白技法与禅道关联
4. 宋羽.《留白，中国文人的艺术“自留地”》[N]. 文汇报，2023. // 解读倪瓒留白中的文人精神
5. 朱良志.《真水无香》[M]. 北京大学出版社，2009. // 论证八大山人留白的禅意结构
6. 高居翰.《隔江山色》[M]. 三联书店，2009. // 宋元山水留白的比较研究
7. 故宫博物院.《万物和生——动物题材绘画特展图录》[M]. 故宫出版社，2025. // 提供花鸟画留白案例《墨葡萄图》
8. 程国栋.《图写奋袂——晚明以来的<水浒>版画》[M]. 上海人美，2025. // 分析陈洪绶人物画留白手法
我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper 中国风R&B节奏布鲁斯音乐 Chinese-Style Rhythm and Blues Music (R&B music)==

==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper 炎帝陵 Yandi Mausoleum==

==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper 盗墓笔记 The Grave Robbers’ Chronicles==

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper 《西厢记》The moon and the Zither ：The story of the western wing==

==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper 郓城壮馍 Yuncheng Zhuangmo ==
Yuncheng Zhuangmo

202330092025 郑筱彤 Zheng Xiaotong

[[File:Example.jpg]]

Introduction:
Yuncheng Zhuangmo is a traditional specialty of Yuncheng County in Heze City, Shandong Province,renowned for its unique production process, rich cultural connotations, and delicious taste. The Mass Daily once praised it as a "unique flavor in the southwestern region of Shandong," which fully demonstrates its important position in local cuisine.

History:
Yuncheng Zhuangmo has a long history, and there are several versions of its origin. One theory is related to the Water Margin culture. Yuncheng is one of the important birthplaces of the Water Margin stories, and there is a saying in the Water Margin that "Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng." According to legend, during the Northern Song Dynasty, when the heroes of Water Margin were on expedition or traveling, they needed a food that was both filling and easy to carry. Thus, Zhuangmo came into being. This large pancake-like food, rich in meat and oil, could quickly restore energy and meet the dietary needs of the heroes during their arduous campaigns. Therefore, it was named "Zhuangmo" (meaning "strong cake") and also called the "Hero's Cake."
Another theory is related to Emperor Qianlong. According to the records in Heze Culture and Tourism, when Emperor Qianlong passed through Liangshan during his southern tour, he inquired about the local specialties of Yuncheng. The officials recommended a type of pastry called "Water Margin Big Zhuangmo." Initially, the Big Zhuangmo was simply a layering of dough and oil. To make it more presentable for the emperor's tasting, the chefs added meat fillings. After Emperor Qianlong tasted it, he praised it highly, and the Big Zhuangmo thus became famous. It gradually evolved into the Yuncheng Zhuangmo that we know today.

Production Process:
1. Zhuangmo is a type of pastry, so the first step is to make the dough. Pour the flour into a large bowl and gradually add boiling water (about 80% hot). This semi-scalded dough method gives the dough both elasticity and a soft, palatable texture. Then, knead the dough repeatedly until it is smooth. The dough should be as soft as possible, so the kneading force needs to be well controlled. Place the dough in a warm place to rest for about 1 hour until it expands in volume. Finally, divide the dough into small pieces about the size of a fist.
2. The second step is to prepare the filling.Traditionally, the filling of Zhuangmo was mainly composed of beef or mutton, but now it is mostly made of pork. Chop the meat into a paste.Add chopped green onions, minced ginger, salt, five-spice powder, cooking wine, and sesame oil to the meat paste, and mix well.Then Marinate the filling for about 15 minutes.
3. The third step is the wrapping process. Roll out the dough piece into a long, tongue-shaped sheet. Use a wooden spoon or spatula to evenly spread the prepared meat filling onto the dough sheet. The ratio of dough to filling should be 3:2. Then, stretch the dough sheet with both hands into a strip about two feet long, fold it from the narrow end into a square shape, and press the open ends together with your hands. Finally, roll it out again into an oval-shaped pastry that is seven inches long, four inches wide, and six-tenths of an inch thick. Since the dough is very soft, the filling can easily leak out, so the maker needs to control the amount of filling and have skillful handling techniques.
4. The last step is the crucial frying process. Heat a flat pan, add an appropriate amount of mixed vegetable oil and animal oil, and heat it up. Then, partially immerse the pastry into the hot oil, frying and turning it until it turns a dark red color. Remove it from the oil and drain off the excess oil. After frying, cut the Zhuangmo into quarters.You will see layers of dough alternating with layers of meat, with the dough as thin as paper and the meat like fine shreds. There are more than ten layers inside and out, with clear strata that make it mouth-watering.

Cultural Significance:
The origin of Zhuangmo is closely related to Water Margin culture. When people make and enjoy it, they often recall the Water Margin culture associated with it. The preparation and consumption of Yuncheng Zhuangmo reflect the living customs and dietary culture of the heroes in Water Margin, making it an important carrier of Water Margin culture.
Zhuangmo is a specialty cuisine from the southwestern region of Shandong Province. In addition to Yuncheng, similar snacks can also be found in places like Henan. It is a product of the intersection of the “rice in the south and wheat in the north” dietary cultures, reflecting the regional characteristics of the Yellow River alluvial plain. In terms of production techniques, Heze Zhuangmo follows the ancestral rules of “three smoothnesses, six turns, and seventy-two kneadings,” which demonstrates the people of southwestern Shandong's adherence to and inheritance of traditional skills.

Modern Inheritance and Development:
In modern society, as a local specialty, Zhuangmo is not only widely available in every corner of Yuncheng but has also gradually expanded into broader markets, attracting more and more people to taste it. Among them, the most famous Zhuangmo shop, "Hejia Zhuangmo," has been featured on the popular TV program A Bite of China.This has boosted the local tourism and economic development, attracting a large number of tourists who line up to purchase it.
While preserving the traditional methods of making Zhuangmo, the inheritors of this craft have also developed a variety of new flavors to meet the diverse tastes of consumers. These include vegetarian options such as egg and chive Zhuangmo, as well as innovative versions like Zhuangmo with eggs poured inside.

Terms and Expressions:
Yuncheng Zhuangmo 郓城壮馍
the Water Margin culture 水浒文化
semi-scalded dough 半烫面
Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城
rice in the south and wheat in the north南米北面

Questions:
1. Which region is Zhuangmo a specialty of?
2. What are the main ingredients of Zhuangmo?
3. What local culture is Zhuangmo associated with?

Preferences:
1.舌尖上的郓城：来郓城不得不吃的美食Yuncheng on the Tip of the Tongue: Must-Try Dishes in Yuncheng（2024.10.1）
2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮-大众日报Shandong Flavors | Yuncheng Zhuangmo: Named "Mo," but Not a Mo—The Staple Food of the Water Margin Heroes—Mass Daily（2024-02-10）
3.小康中国千城早餐｜郓城壮馍-新华社三农A Well-Off China: Breakfast in a Thousand Cities | Yuncheng Zhuangmo - Xinhua News Agency（2022-09-13）

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

郓城壮馍

介绍:
郓城壮馍是山东省菏泽市郓城县的传统特产名吃，以其独特的制作工艺、丰富的文化内涵和鲜美的口感而闻名。《大众日报》曾在报道中称赞其为“鲁西南地区的独特风味”，足见其在地方美食中的重要地位。

历史:
郓城壮馍历史悠久，关于它的起源，民间流传着多个版本。一种说法与水浒文化有关。郓城是水浒故事的重要发源地之一，水浒传中有“梁山一百单八将，七十二名在郓城”的说法。据传，北宋时期，水浒好汉在出征或赶路时，需要一种既能饱腹又方便携带的食物，壮馍便应运而生。这种大饼状的食物，肉多油多，能让人迅速恢复体力，满足了好汉们在艰苦征战中的饮食需求，因此得名“壮馍”，又被称为“好汉饼”。
还有一种说法与乾隆皇帝南巡有关。据《菏泽文化旅游》记载，乾隆皇帝南巡时途经梁山，询问郓城有何特色美食。官员推荐了一种名为“水浒大壮馍”的面食，最初的大壮馍只是简单的面皮和油的层叠。为了让其更加体面，以供皇帝品尝，厨师加入了肉料。乾隆皇帝品尝后，对其赞不绝口，大壮馍也因此名声大噪，逐渐演变成如今的郓城壮馍。

制作过程:
1.壮馍是一种面食，因此第一步便是和面。将面粉倒入大碗中少量多次加入八成热的热水，这种半烫面的做法使面团既有韧性又柔软适口。之后再反复揉成光滑的面团，这里要求面揉的越软越好，因此揉面的力度要掌握好。将面团放置在温暖处醒发约1小时，使面团体积膨胀，再揪成一个个拳头大的面团。2.第二步是调馅。早期壮馍的馅料多以牛肉和羊肉为主，但现在大多是猪肉。将肉用刀剁成肉泥，在肉馅中加入葱末、姜末、盐、五香粉、料酒、香油等调料，搅拌均匀，腌制15分钟左右。3.第三步就是包制过程。将面剂擀成长舌状，把调好的肉馅用木勺或木片均匀涂抹在面皮上，面与馅的比例为三比二，然后两手扯平，拉成二尺长条，从小头折叠，叠成方块，两头露口处用手压合，最后再擀成长七寸、宽四寸、厚六分的椭圆形饼坯。因为面团很软，所以馅料十分容易漏出，需要制作者把控好馅料的多少以及手法娴熟。4.最后是最关键的煎制过程。平底锅上火，加入适量植物油与动物油混合的油，烧热后将面饼半浸入平底油锅中，边炸边翻，炸至绛红色后捞出控油。出锅后的壮馍，以快刀十字切开，便可看到一层面夹一层肉，面如纸薄，肉如丝絮，里里外外不下十几层，层次分明，令人垂涎欲滴。

文化意义:
壮馍的起源与水浒文化分不开。当人们在制作和品尝它时，总会想起与之相关的水浒文化。郓城壮馍的制作和食用方式，反映了水浒好汉们的生活习俗和饮食文化，成为水浒文化的重要载体。
壮馍是鲁西南地区的一道特色美食。除了郓城，河南等地也有与它类似的小吃。它是“南米北面”饮食文化交界处的智慧结晶，反映了黄河冲积平原地区的地域特色。在制作工艺上，菏泽壮馍遵循“三光六转七十二揉”的祖传规矩，体现了鲁西南地区人民对传统技艺的坚守和传承。

现代传承与发展:
在现代社会，壮馍作为地方特色美食，不仅在郓城的大街小巷随处可见，还逐渐走向更广阔的市场，吸引了更多人来此品尝。其中，最有名的一家壮馍店“何家壮馍”还被《舌尖上的中国》宣传。这推动了当地旅游业和经济的发展，吸引了非常多的游客排队购买。
在传承原本壮馍的制作方法的同时，壮馍传承人也开发出更多口味的壮馍，如素馅的鸡蛋韭菜壮馍、灌鸡蛋的壮馍等，以满足不同消费者的口味需求。

术语和表达式:
Yuncheng Zhuangmo 郓城壮馍
the Water Margin culture 水浒文化
semi-scalded dough 半烫面
Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城
rice in the south and wheat in the north南米北面

问题:
1.壮馍是哪个地区的特色美食？
2.壮馍的主要用料是什么？
3.壮馍与当地的什么文化有关？

参考文献:
1.舌尖上的郓城：来郓城不得不吃的美食（2024.10.1）
2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮大众新闻-大众日报（2024-02-10）
3.小康中国千城早餐｜郓城壮馍新华社三农（2022-09-13）

我在此保证我没有使用AI的帮助来写这门课程的期末论文。

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper 汉寿甲鱼 Hanshou turtle==

==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper泡泡玛特 POP MART==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper 乒乓球 Ping-Pong==

==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen==

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper 湘军 the Xiang Army==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==

旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

File:Goods.jpg

2025-06-19T08:17:02Z

Wu Jincheng:

File:Comic Exhibition.jpg

2025-06-19T08:15:16Z

Wu Jincheng:

Cult Ov Fin Exam Spring 2025

2025-06-18T13:00:03Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture */

Cult Ov Fin Exam Spring 2025

2025-06-18T12:57:12Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture */

Cult Ov Fin Exam Spring 2025

2025-06-05T09:22:24Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wang_Nan#Final_Paper 鱼丸 */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper==
==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸==
==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture==

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan 滕王阁 Tengwang Pavilion #Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong郓城壮馍Yuncheng Zhangmo#Final_Paper==

==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:20:10Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper==
==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper 鱼丸

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper== 二次元文化 ACG Culture

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan Tengwang Pavilion 滕王阁#Final_Paper==

==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper==
==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Cult Ov Fin Exam Spring 2025

2025-06-05T09:19:14Z

Wu Jincheng: /* https://wiki.rub.de/uvu/index.php/User:Wu_Jincheng#Final_Paper */

=Please write your final exam topics here!=
Write your topics behind your name.

==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Shang_Ruyi#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Yanhua划龙舟比赛Dragon boat race#Final_Paper==

==https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper==
==https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper==
==https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper==
==https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper==
==https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper==
==https://bou.de/u/wiki/User:Wang_Nan#Final_Paper==鱼丸

==https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper==
二次元文化 ACG Culture

==https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper==
==https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper==道家思想 Daoist Thought

道家思想 Daoist Thought

==https://bou.de/u/wiki/User:Li_Zhiying#Final_Paper==
==https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Zhengyuan#Final_Paper==
==https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper==
==https://bou.de/u/wiki/User:Yang_Ning#Final_Paper 香港武侠电影 Hong Kong Martial Arts Films==
==https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper==
==https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper==
==https://bou.de/u/wiki/User:Chen_Jingxi#Final_Paper==
==https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper==
==https://bou.de/u/wiki/User:Zhong_Weiping#Final_Paper== 盗墓笔记 The Grave Robbers’ Chronicles

==https://bou.de/u/wiki/User:Su_Xing#Final_Paper==
==https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper==
==https://bou.de/u/wiki/User:Li_Yijun#Final_Paper==
==https://bou.de/u/wiki/User:Tang_Jiahua#Final_Paper==
==https://bou.de/u/wiki/User:Zhou_Yuzhen#Final_Paper==
==https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper==中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

==https://bou.de/u/wiki/User:Zhu_Shunjie#Final_Paper==

=第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture=

==旗袍文化与翻译 Clothing: Cheongsam and Translation==
旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

'''重要词汇 | Key Vocabulary'''

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

==黑神话：悟空与翻译 Black Myth: Wukong and Translation==

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

'''重要词汇 | Key Vocabulary'''

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

==第九讲测验 Session Nine Quiz==

#旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
#翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
#《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
#游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
#在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.

Overview of Chinese Culture, Spring 2025

2025-06-05T09:17:53Z

Wu Jincheng: /* Chinese Cultural Knowledge and my career */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

WED 8-8:45, 8:55-9:40 407 [周9-16：THU 16:30-18:10 610, 学院教务处熊老师帮我们调课] 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

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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(Li Zuyi)

21. Beverages: Tea 203(Li Zhiying)

22. Beverages: The Liquor Culture of Ancient China 209 Zhong Weiping

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 (Lu Yingxin)

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（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476(Zhou Yuzhen)

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660 (Li Bingjie)

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 （Su Xing）

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 Chen Jingxi
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 '''Yang Ning'''

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332(Peng Peixin)

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 '''Yao Kexin'''

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 Zhu Huiting

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845 （Li Yijun）

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

281. Music and instruments: Yangqin（扬琴） 1845

282. Black Myth: Wukong（黑神话悟空） 1845

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=

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

==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=
==179.Traditional and Modern Views on Marriage and Love. (Zhou Qingyi)==

[[Media:Traditional and Modern Views on Marriage and Love_pres_Spring_2025.pptx]] by Zhou Qingyi

==28.Chinese Writing:The Evolution of Calligraphy. (Liu Xiaojia )==

[[Media:The Evolution of Chinese Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==140. Stage Entertainment:Show Play(Peng Peixin)==

[[Media:Chinese Shadow Puppetry_pres_Spring_2025.pptx]] by Peng Peixin

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations=
==2.Aesthetic Ideals and Social Customs:Chinese Marriage Customs (Xu Huanchang)==

[[Media:Marriage_Customs_Spring_2025.pptx]] by Xu Huanchang

==67.Landscapes and Tourism,Nanking-An Ancient Capital of Six Dynasties (Hu Xiuhao)==

[[Media:Landscapes and Tourism,Nanking-An Ancient Capital of Six Dynasties_pres_Spring_2025.pptx]] by Hu Xiuhao

== 237. Braised Chicken Rice. (Wang Nan)==

[[Media:Braised Chicken Rice_pres_Spring_2025.pptx]] by Wang Nan

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations=
==188.Science and Technology: Mobile Games(Wu Jincheng)==

[[Media:Mobile_Games_Spring_2025.pptx]] by Wu Jincheng

==213.Chinese Dreamcore(Liu Wenziqin)==

Media:[[File:Chinese Dreamcore.pptx]] by Liu Wenziqin

=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
==227. Chinese Bossy Fictions and Micro-drama.(Yao Kexin)==

[[Media: Chinese Bossy Fictions and Micro-drama_pres_Spring_2025.pptx]] by Yao Kexin

==21.Beverages: Tea(Li Zhiying)==

[[Media:Beverages:Tea_pres_Spring_2025.pptx]] by Li Zhiying

==中华文化促进联盟 Chinese Culture Promotion Alliance==
We Chat Group 中华文化促进联盟 Chinese Culture Promotion Alliance

=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations=

#Liu Xiaojia +83
#Shang Ruyi +83
#Zhou Yanhua -1
#Zhou Qingyi +92
#Liu Xiaojia +83
#Peng Peixin +83
#Xu Huanchang -1
#Hu Xiuhao -1 +92
#Wang Nan +83
#Wu Jincheng +92
#Liu Wenziqin -1
#Yao Kexin -1 +92
#Li Zhiying
#Li Bingjie +83
#Zhou Zhengyuan +75
#Xiao Xiangping +92
#Yang Ning +83
#Lu Yingxin +75
#Zhang Yubo +100
#Chen Jingxi +83
#Zhu Huiting +83
#Zhong Weiping +92
#Su Xing +83
#Zheng Xiaotong -1
#Li Yijun -1
#Tang Jiahua -1 +75
#Zhou Yuzhen +92
#Li Zuyi +83
#Zhu Shunjie
==69.Language: Chinese Dialects (Li Bingjie)==

[[Media:Chinese dialect.pptx]] by Li Bingjie

==133.Silk and Porcelain:Celadon and Celadon Song (Zhou Zhengyuan)==

[[Media:Celadon and the Celadon song.pptx]] by Zhou Zhengyuan

=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations=
==216.The Story of Ming Lan(Xiao Xiangping)==

[[Media:The Story Of Minglan2025.pptx]] by Xiao Xiangpin

==80.Literature:Premodern Literature-Li Bai’s “The River-Merchant’s Wife:A Letter” and its translations(Yang Ning )==

[[Media:Premodern Literature-Li Bai’s “The River-Merchant’s Wife-A Letter” and its translations.pptx]] by Yang Ning

=Session 09 THU Apr 17 16:30-18:10 601 - Student presentations=
==33.Clothing:Cheongsam(Lu Yingxin)==

[[Media:Clothing:Cheongsam_pres_Spring_2025.pptx]] by Lu Yingxin

==282.Black Myth: Wukong (Zhang Yubo)==

[[Media:Black Myth: Wukong_pres_Spring_2025.pptx]] by Zhang Yubo

=Session 10 April 23, from 10:00 to 11:40, 402=
Make up class for May 15, 2025.
==132. Silk and porcelain : Porcelain (Zhong Weiping)==

[[Media:Porcelain_Spring_2025.pptx]] by Zhong Weiping

==279.Huo Qubing(Li Yijun)==

[[Media:Huo_Qubing_Spring_2025.pptx]] by Li Yijun

=Session 11 THU Apr 24 16:30-18:10 601 - Student presentations=
==76.Literature: Ancient Literature: Take Su Shi as An Example. Relegation Literature in Ancient China(Chen Jingxi)==

[[Media: Ancient Literature: Take Su Shi as An Example. Relegation Literature in Ancient China_pres_Spring_2025.pptx]] by Chen Jingxi

==272.Chinese Term of Endeatment(Zhu Huiting)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

==Chinese Cultural Knowledge and my career==
===Task===
[[Media:Example.ogg]]===Student roll===
#https://bou.de/u/wiki/User:Liu_Xiaojia#Essay
#https://bou.de/u/wiki/User:Zhang_Ruyi#Essay
#https://bou.de/u/wiki/User:Zhou_Yanhua#Essay
#https://bou.de/u/wiki/User:Zhou_Qingyi#Essay
#https://bou.de/u/wiki/User:Liu_Xiaojia#Essay
#https://bou.de/u/wiki/User:Peng_Peixin#Essay
#https://bou.de/u/wiki/User:Xu_Huanchang#Essay
#https://bou.de/u/wiki/User:Hu_Xiuhao#Essay
#https://bou.de/u/wiki/User:Wang_Nan#Essay
#https://bou.de/u/wiki/User:Wu_Jincheng#Essay
#https://bou.de/u/wiki/User:Liu_Wenziqin#Essay
#https://bou.de/u/wiki/User:Yao_Kexin#Essay
#https://bou.de/u/wiki/User:Li_Zhiying#Essay
#https://bou.de/u/wiki/User:Li_Bingjie#Essay
#https://bou.de/u/wiki/User:Zhou_Zhengyuan#Essay
#https://bou.de/u/wiki/User:Xiao_Xiangping#Essay
#https://bou.de/u/wiki/User:Yang_Ning#Essay
#https://bou.de/u/wiki/User:Lu_Yingxin#Essay
#https://bou.de/u/wiki/User:Zhang_Yubo#Essay
#https://bou.de/u/wiki/User:Chen_Jingxi#Essay
#https://bou.de/u/wiki/User:Zhu_Huiting#Essay Work hard everyday to make ends meet.
#https://bou.de/u/wiki/User:Zhong_Weiping#Essay
#https://bou.de/u/wiki/User:Su_Xing#Essay
#https://bou.de/u/wiki/User:Zheng_Xiaotong#Essay
#https://bou.de/u/wiki/User:Li_Yijun#Essay
#https://bou.de/u/wiki/User:Tang_Jiahua#Essay
#https://bou.de/u/wiki/User:Zhou_Yuzhen#Essay
#https://bou.de/u/wiki/User:Li_Zuyi#Essay
#https://bou.de/u/wiki/User:Zhu_Shunjie#Essay

=Session 12 THU May 8 16:30-18:10 601 - Student presentations=
==75.Literature: Ancient Literature:Four Folk Stories of Ancient China (Su Xing)==

[[Media:Ancient Literature-Four Folk Stories of Ancient China.pptx]] by Su Xing

==64.Landscapes and Tourism:The Culture of Mount Tai(Zheng Xiaotong)==

[[Media:The Culture of Mount Tai_2025.pptx]] by Zheng Xiaotong

=Session 13 THU May 22 16:30-18:10 601 - Student presentations=
==165. Worship: Chinese Incense Culture (Tang Jiahua)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

==52.Games:Mahjong : An Ancient Chinese Card Play.(Zhou Yuzhen)==

[[Media:Mahjong Culture.pptx]] by Zhou Yuzhen

=Session 14 Tue May 27 16:30-18:10 401 - Student presentations=
==20.Milk Tea(Li Zuyi)==

[[Media:chinese milk tea culture.pptx]] by Li Zuyi

==Tang Jiahua==
Incense Culture

=Session 15 Thu Jun 5 THU 16:30-18:10 601 - Student presentations=
==253.Yuelu Mountain (Zhu Shunjie)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 16 Thu Jun 5 THU 16:30-18:10 601 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-06-05T09:16:45Z

Wu Jincheng: /* Student roll */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

WED 8-8:45, 8:55-9:40 407 [周9-16：THU 16:30-18:10 610, 学院教务处熊老师帮我们调课] 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

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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(Li Zuyi)

21. Beverages: Tea 203(Li Zhiying)

22. Beverages: The Liquor Culture of Ancient China 209 Zhong Weiping

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 (Lu Yingxin)

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（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476(Zhou Yuzhen)

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660 (Li Bingjie)

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 （Su Xing）

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 Chen Jingxi
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 '''Yang Ning'''

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332(Peng Peixin)

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 '''Yao Kexin'''

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 Zhu Huiting

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845 （Li Yijun）

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

281. Music and instruments: Yangqin（扬琴） 1845

282. Black Myth: Wukong（黑神话悟空） 1845

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=

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

==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=
==179.Traditional and Modern Views on Marriage and Love. (Zhou Qingyi)==

[[Media:Traditional and Modern Views on Marriage and Love_pres_Spring_2025.pptx]] by Zhou Qingyi

==28.Chinese Writing:The Evolution of Calligraphy. (Liu Xiaojia )==

[[Media:The Evolution of Chinese Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==140. Stage Entertainment:Show Play(Peng Peixin)==

[[Media:Chinese Shadow Puppetry_pres_Spring_2025.pptx]] by Peng Peixin

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations=
==2.Aesthetic Ideals and Social Customs:Chinese Marriage Customs (Xu Huanchang)==

[[Media:Marriage_Customs_Spring_2025.pptx]] by Xu Huanchang

==67.Landscapes and Tourism,Nanking-An Ancient Capital of Six Dynasties (Hu Xiuhao)==

[[Media:Landscapes and Tourism,Nanking-An Ancient Capital of Six Dynasties_pres_Spring_2025.pptx]] by Hu Xiuhao

== 237. Braised Chicken Rice. (Wang Nan)==

[[Media:Braised Chicken Rice_pres_Spring_2025.pptx]] by Wang Nan

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations=
==188.Science and Technology: Mobile Games(Wu Jincheng)==

[[Media:Mobile_Games_Spring_2025.pptx]] by Wu Jincheng

==213.Chinese Dreamcore(Liu Wenziqin)==

Media:[[File:Chinese Dreamcore.pptx]] by Liu Wenziqin

=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
==227. Chinese Bossy Fictions and Micro-drama.(Yao Kexin)==

[[Media: Chinese Bossy Fictions and Micro-drama_pres_Spring_2025.pptx]] by Yao Kexin

==21.Beverages: Tea(Li Zhiying)==

[[Media:Beverages:Tea_pres_Spring_2025.pptx]] by Li Zhiying

==中华文化促进联盟 Chinese Culture Promotion Alliance==
We Chat Group 中华文化促进联盟 Chinese Culture Promotion Alliance

=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations=

#Liu Xiaojia +83
#Shang Ruyi +83
#Zhou Yanhua -1
#Zhou Qingyi +92
#Liu Xiaojia +83
#Peng Peixin +83
#Xu Huanchang -1
#Hu Xiuhao -1 +92
#Wang Nan +83
#Wu Jincheng +92
#Liu Wenziqin -1
#Yao Kexin -1 +92
#Li Zhiying
#Li Bingjie +83
#Zhou Zhengyuan +75
#Xiao Xiangping +92
#Yang Ning +83
#Lu Yingxin +75
#Zhang Yubo +100
#Chen Jingxi +83
#Zhu Huiting +83
#Zhong Weiping +92
#Su Xing +83
#Zheng Xiaotong -1
#Li Yijun -1
#Tang Jiahua -1 +75
#Zhou Yuzhen +92
#Li Zuyi +83
#Zhu Shunjie
==69.Language: Chinese Dialects (Li Bingjie)==

[[Media:Chinese dialect.pptx]] by Li Bingjie

==133.Silk and Porcelain:Celadon and Celadon Song (Zhou Zhengyuan)==

[[Media:Celadon and the Celadon song.pptx]] by Zhou Zhengyuan

=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations=
==216.The Story of Ming Lan(Xiao Xiangping)==

[[Media:The Story Of Minglan2025.pptx]] by Xiao Xiangpin

==80.Literature:Premodern Literature-Li Bai’s “The River-Merchant’s Wife:A Letter” and its translations(Yang Ning )==

[[Media:Premodern Literature-Li Bai’s “The River-Merchant’s Wife-A Letter” and its translations.pptx]] by Yang Ning

=Session 09 THU Apr 17 16:30-18:10 601 - Student presentations=
==33.Clothing:Cheongsam(Lu Yingxin)==

[[Media:Clothing:Cheongsam_pres_Spring_2025.pptx]] by Lu Yingxin

==282.Black Myth: Wukong (Zhang Yubo)==

[[Media:Black Myth: Wukong_pres_Spring_2025.pptx]] by Zhang Yubo

=Session 10 April 23, from 10:00 to 11:40, 402=
Make up class for May 15, 2025.
==132. Silk and porcelain : Porcelain (Zhong Weiping)==

[[Media:Porcelain_Spring_2025.pptx]] by Zhong Weiping

==279.Huo Qubing(Li Yijun)==

[[Media:Huo_Qubing_Spring_2025.pptx]] by Li Yijun

=Session 11 THU Apr 24 16:30-18:10 601 - Student presentations=
==76.Literature: Ancient Literature: Take Su Shi as An Example. Relegation Literature in Ancient China(Chen Jingxi)==

[[Media: Ancient Literature: Take Su Shi as An Example. Relegation Literature in Ancient China_pres_Spring_2025.pptx]] by Chen Jingxi

==272.Chinese Term of Endeatment(Zhu Huiting)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

==Chinese Cultural Knowledge and my career==
===Task===
[[Media:Example.ogg]]===Student roll===
#https://bou.de/u/wiki/User:Liu_Xiaojia#Essay
#https://bou.de/u/wiki/User:Zhang_Ruyi#Essay
#https://bou.de/u/wiki/User:Zhou_Yanhua#Essay
#https://bou.de/u/wiki/User:Zhou_Qingyi#Essay
#https://bou.de/u/wiki/User:Liu_Xiaojia#Essay
#https://bou.de/u/wiki/User:Peng_Peixin#Essay
#https://bou.de/u/wiki/User:Xu_Huanchang#Essay
#https://bou.de/u/wiki/User:Hu_Xiuhao#Essay
#https://bou.de/u/wiki/User:Wang_Nan#Essay
#https://bou.de/u/wiki/User:Wu_Jincheng#Essay 二次元文化 ACG Culture
#https://bou.de/u/wiki/User:Liu_Wenziqin#Essay
#https://bou.de/u/wiki/User:Yao_Kexin#Essay
#https://bou.de/u/wiki/User:Li_Zhiying#Essay
#https://bou.de/u/wiki/User:Li_Bingjie#Essay
#https://bou.de/u/wiki/User:Zhou_Zhengyuan#Essay
#https://bou.de/u/wiki/User:Xiao_Xiangping#Essay
#https://bou.de/u/wiki/User:Yang_Ning#Essay
#https://bou.de/u/wiki/User:Lu_Yingxin#Essay
#https://bou.de/u/wiki/User:Zhang_Yubo#Essay
#https://bou.de/u/wiki/User:Chen_Jingxi#Essay
#https://bou.de/u/wiki/User:Zhu_Huiting#Essay Work hard everyday to make ends meet.
#https://bou.de/u/wiki/User:Zhong_Weiping#Essay
#https://bou.de/u/wiki/User:Su_Xing#Essay
#https://bou.de/u/wiki/User:Zheng_Xiaotong#Essay
#https://bou.de/u/wiki/User:Li_Yijun#Essay
#https://bou.de/u/wiki/User:Tang_Jiahua#Essay
#https://bou.de/u/wiki/User:Zhou_Yuzhen#Essay
#https://bou.de/u/wiki/User:Li_Zuyi#Essay
#https://bou.de/u/wiki/User:Zhu_Shunjie#Essay

=Session 12 THU May 8 16:30-18:10 601 - Student presentations=
==75.Literature: Ancient Literature:Four Folk Stories of Ancient China (Su Xing)==

[[Media:Ancient Literature-Four Folk Stories of Ancient China.pptx]] by Su Xing

==64.Landscapes and Tourism:The Culture of Mount Tai(Zheng Xiaotong)==

[[Media:The Culture of Mount Tai_2025.pptx]] by Zheng Xiaotong

=Session 13 THU May 22 16:30-18:10 601 - Student presentations=
==165. Worship: Chinese Incense Culture (Tang Jiahua)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

==52.Games:Mahjong : An Ancient Chinese Card Play.(Zhou Yuzhen)==

[[Media:Mahjong Culture.pptx]] by Zhou Yuzhen

=Session 14 Tue May 27 16:30-18:10 401 - Student presentations=
==20.Milk Tea(Li Zuyi)==

[[Media:chinese milk tea culture.pptx]] by Li Zuyi

==Tang Jiahua==
Incense Culture

=Session 15 Thu Jun 5 THU 16:30-18:10 601 - Student presentations=
==253.Yuelu Mountain (Zhu Shunjie)==

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 16 Thu Jun 5 THU 16:30-18:10 601 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

User:Wu Jincheng

2025-04-24T10:08:48Z

Wu Jincheng:

Maybe I can make live by making vlog.I will try to become a vloger.

File:Mobile Games Spring 2025.pptx

2025-03-16T11:31:01Z

Wu Jincheng:

Overview of Chinese Culture, Spring 2025

2025-02-26T14:21:02Z

Wu Jincheng: /* Homework */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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 '''Yao Kexin'''

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(Li Zuyi)

21. Beverages: Tea 203(Li Zhiying)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 (Lu Yingxin)

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476(Zhou Yuzhen)

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660 (Li Bingjie)

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 （Su Xing）

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 Chen Jingxi
77. Literature: Ancient Literature: The Classic of Mountains and Seas 748

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332(Peng Peixin)

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 '''Yao Kexin'''

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845(Zhong Weiping )

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 Zhu Huiting

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845 （Li Yijun）

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=
==179.Traditional and Modern Views on Views on Marriage and Love. (Zhou Qinyi)==
[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
== 188. Science and Technology: Mobile Games（手游）(Wu Jincheng) ==
== 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词（Zhou Zhengyuan） ==

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-02-26T02:30:41Z

Wu Jincheng: /* Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations= */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

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(Li Zuyi)

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 （Lu Yingxin)

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
== 188. Science and Technology: Mobile Games（手游）(Wu Jincheng) ==
== 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词（Zhou Zhengyuan） ==

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-02-26T02:29:58Z

Wu Jincheng: /* Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations= */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

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(Li Zuyi)

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 （Lu Yingxin)

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
== 188. Science and Technology: Mobile Games（手游）(Wu Jincheng) ==
== 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 ==

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-02-26T02:29:12Z

Wu Jincheng: /* Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations= */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197(Li Zuyi)

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252 Liu Xiaojia

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 （Lu Yingxin)

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

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(Zheng Xiaotong) 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845(Zhu Shunjie)

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

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

256. Danmu (弹幕） 1845

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
== 188. Science and Technology: Mobile Games（手游）(Wu Jincheng) ==

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-02-26T01:10:44Z

Wu Jincheng: /* Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations= */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197(Li Zuyi)

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845

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

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

256. Danmu (弹幕） 1845

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(Li Zuyi)

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
== 188. Science and Technology: Mobile Games（手游） 1783 (Wu Jincheng) ==

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]

Overview of Chinese Culture, Spring 2025

2025-02-26T01:06:41Z

Wu Jincheng: /* Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations= */

Welcome to our course website [[Overview of Chinese Culture, Spring 2025]]!

=Session 1 Wed Feb 19 8:00-9:40 room 腾龙楼 407 - Organizational issues=
FRI 8:00-9:40 '''中国文化概要''' [[Overview of Chinese Culture, Spring 2025]] 407 BA22笔译1 (1-16, 09230030.01)

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

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

==Homework for next session (actually for every session)==
Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Cult_Spring_2025.pptx]]
==Homework==
Please register on the Wiki and wait for the teacher to approve.

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197(Li Zuyi)

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361（Shang Ruyi/Michelle）

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》Zhou Yanhua 1845

203. Chinese horror movies 中式恐怖片 1845

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

213. Chinese Dreamcore (中式梦核) 1845……(Liu Wenziqin/Lucie)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845

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

220. Rice cake (年糕) 1845

221. Zhongyuan festival 1845(Ou Huang)

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845

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

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

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

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

229. Jingdezhen Porcelain 1845

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

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

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845 (Chen Lin)

242. Hunan Rice Noodles（湖南米粉） 1845(Ou Huang)

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

245. Douzhi (豆汁) 1845(Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845

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

253. Yuelu Mountain (岳麓山) 1845

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

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

256. Danmu (弹幕） 1845

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(Li Zuyi)

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

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

262. The Four Pillars of Destiny (八字) 1845(Ou Huang)

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Chen Zhen)

267. Ma Zu Culture (妈祖文化) 1845

268. Table Manners 1845

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

270. The Yingge Dance（英歌舞） 1845

271. Palace Lantern（宫灯） 1845

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

273. Changsha Stinky Tofu（长沙臭豆腐) 1845

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845

276. Nail art（美甲） 1845

277. Mirror (镜子) 1845

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

279. Huo Qubing (霍去病） 1845

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

281. Music and instruments: Yangqin（扬琴） 1845

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

283. Guangdong Morning Tea Culture （广东早茶文化） 1845（Tang Jiahua）

=Session 02 Wed Feb 26 8:00-9:40 room 腾龙楼 407 - Student presentations=
==28. Chinese Writing: The Evolution of Calligraphy. (Liu Xiaojia)==

[[Media:Calligraphy_pres_Spring_2025.pptx]] by Liu Xiaojia

==39. The Four Talented Women of Ancient China. (Shang Ruyi)==

[[Media:The four talented women of ancient China_pres_Spring_2025.pptx]] by Shang Ruyi

==202.The Legend of Zhen Huan. (Zhou Yanhua)==

[[Media:202_The_Legend_of_Zhen_Huan_2025.pptx]] by Zhou Yanhua

==Teacher presentation==
[[Media:02_Chin_Cult_Spring_2025.pptx]]

=Session 03 Wed Mar 05 8:00-9:40 room 腾龙楼 407 - Student presentations=

[[Media:Soccer_pres_Spring_2025.pptx]] by Wang Jianguo

=Session 04 Wed Mar 12 8:00-9:40 room 腾龙楼 407 - Student presentations==
4.1 188. Science and Technology: Mobile Games（手游） 1783 (Wu Jincheng)

=Session 05 Wed Mar 19 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 06 Wed Mar 26 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 07 Wed Apr 02 8:00-9:40 room 腾龙楼 407 - Student presentations==
清明节4月4日——4月6日
=Session 08 Wed Apr 09 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 09 Wed Apr 16 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 10 Wed Apr 23 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 11 Wed Apr 30 8:00-9:40 room 腾龙楼 407 - Student presentations==
劳动节5月1日——5月5日
=Session 12 Wed May 07 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 13 Wed May 14 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 14 Wed May 21 8:00-9:40 room 腾龙楼 407 - Student presentations==
=Session 15 Wed May 28 8:00-9:40 room 腾龙楼 407 - Student presentations==
端午节5月31日——6月2日
=Session 16 Wed Jun 25 8:00-9:40 room 腾龙楼 407 - Final Exam=
Please write your paper here: [[Cult_Ov_Fin_Exam_Spring_2025]]