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20210601 culture5

2021-06-14T15:56:51Z

Wu Siyi: /* Health Benefits */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals were originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane.These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys reputation throughout the entire world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao of Peiguo (today called Haoxian or Bo) county, in what is now Anhui Province, one of the four major herb distribution centers of modern China. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE.) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his use of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. Besides performing surgeries, Hua Tuo also recommended the use of physical exercises for his patients. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

The Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It gazes with raged eyes and moves like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is know for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also need to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives.(Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping the attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for the older, the weaker, and the depressed people.(Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms togetther downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Five Animal-Frolics" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Five Animal-Frolics" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heart-crown disease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioner should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

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

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma哮喘

high blood pressure高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

== '''Answers''' ==

== '''References''' ==

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T15:53:06Z

Wu Siyi: /* Major Styles */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals were originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane.These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys reputation throughout the entire world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao of Peiguo (today called Haoxian or Bo) county, in what is now Anhui Province, one of the four major herb distribution centers of modern China. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE.) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his use of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. Besides performing surgeries, Hua Tuo also recommended the use of physical exercises for his patients. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

The Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It gazes with raged eyes and moves like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is know for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also need to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives.(Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping the attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for the older, the weaker, and the depressed people.(Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms togetther downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Five Animal-Frolics" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Five Animal-Frolics" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heart-crown disease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioner should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

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

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma哮喘

high blood pressure高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

== '''Answers''' ==

== '''References''' ==

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210602 culture

2021-06-14T03:14:19Z

Wu Siyi: /* Wáng Zǐhán 王子涵 */

=Bào Qìnwén 鲍沁雯=
所以宁荣二府之人，都得人手。因这媳妇妖调异常，
轻浮无比，众人都呼他作“多姑娘儿”。如今贾琏在外熬煎，往日也见过这媳
妇，垂涎久了，只是内惧娇妻，外惧娈童，不曾下得手。那多姑娘儿也有意于贾
琏，只恨没空；今闻贾琏挪在外书房来，他便没事也要走三四趟去招惹。贾琏似
饥鼠一般，少不得和心腹的小厮们计议，多以金帛相许，焉有不允之理，况都和
这媳妇是旧友，一说便成。

是夜，多浑虫醉倒在炕，二鼓人定，贾琏便溜进来相会。一见面，早已神魂
失据，也不及情谈款叙，便宽衣动作起来。谁知这媳妇有天生的奇趣，一经男子
挨身，便觉遍体筋骨瘫软，使男子如卧绵上；更兼淫态浪言，压倒娼妓。贾琏此
时恨不得化在他身上。那媳妇故作浪语，在下说道：“你们女儿出花儿，供着娘
娘，你也该忌两日，倒为我腌臜了身子，快离了我这里罢。”贾琏一面大动，一面
喘吁吁答道：“你就是‘娘娘’！那里还管什么‘娘娘’！”那媳妇越浪起来，贾琏
不禁丑态毕露。一时事毕，两个又盟山誓海，难舍难分。自此后，遂成相契。

一日，大姐毒尽癍回，十二日后送了“娘娘”，合家祭天祀祖宗，还愿焚香，
庆贺放赏已毕，贾琏仍复搬进卧室。见了凤姐，正是俗语云“新婚不如远别”，
更有无限恩爱，自不必细说。
So most of the men in the Ning and Rong Mansions had had their fling with her. And because she was such a remarkably good-looking wanton, everyone called her "the Mattress"(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye "the Mattress" avidly but had so far taken no steps to get her for fear of his wife at home and his fancy boys outside. Miss Multi for her part had been hankering after Romance Merchant too, waiting eagerly for her chance. As soon as she heard that he had moved to the study she kept strolling past to flaunt her charms, and Romance Merchant rose to the bait like a famished rat. He consulted his trusted pages, who agreed to arrange a secret assignation for him, for not only did he promise them rich rewards - they were all on intimate terms themselves with Miss Multi. So the matter was settled at once. At the second watch that night, when the household had retired and Droopy Duo lay on his kang in a drunken stupor, ha Lian slipped into her room. The mere sight of her threw him into such a frenzy that with no preliminary professions of love he flung off his clothes and set to work. Now this woman was so curiously constituted that the touch of a man seemed to melt her very bones, so that he felt as if bedded in cotton-wool, while in her wanton tricks and amorous cries she outdid any prostitute. No man but was driven to utter frenzy by her. Romance Merchant only wished he could melt into her body! To inflame him further, the woman under him teased, "Your daughter has smallpox and they’re sacrificing in your home to the goddess. You ought to lead a clean life for a couple of days, not dirty yourself for me. Hurry up and get out of here.” "You’re my goddess," he panted, going all out. What do I care for any other goddess?" The more wanton the woman, the more debauched Romance Merchant revealed himself. At the end of this bout they vowed to be true to each other and could hardly bear to part. From that day they became sworn lovers. But Sister Ingenious’ illness spent its course, her pustules gradually healed. After twelve days they "saw off" the goddess and the whole family sacrificed to Heaven and their ancestors, made offerings, burnt incense, exchanged congratulations and distributed largesse. When these ceremonies were at an end, Romance Merchant returned to his old quarters and Splendid Phoenix King. As the proverb says, Reunion after long separation is better than a wedding night." We need not dwell on the transports of their love.--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 12:46, 4 June 2021 (UTC)

So most of the men in the Ning and Rong Mansions had had their fling with her. And because she was such a remarkably good-looking wanton, everyone called her "the Mattress"(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye "the Mattress" avidly but had so far taken no steps to get her for fear of his wife at home and his fancy boys outside. Miss Multi for her part had been hankering after Romance Merchant too, waiting eagerly for her chance. As soon as she heard that he had moved to the study she kept strolling past to flaunt her charms, and Romance Merchant rose to the bait like a famished rat. He consulted his trusted pages, who agreed to arrange a secret assignation for him, for not only did he promise them rich rewards - they were all on intimate terms themselves with Miss Multi. So the matter was settled at once. At the second watch that night, when the household had retired and Droopy much lay on his kang in a drunken stupor, Romance Merchant slipped into her room. The mere sight of her threw him into such a frenzy that with no preliminary professions of love he flung off his clothes and set to work. Now this woman was so curiously constituted that the touch of a man seemed to melt her very bones, so that he felt as if bedded in cotton-wool, while in her wanton tricks and amorous cries she outdid any prostitute. No man but was driven to utter frenzy by her. Romance Merchant only wished he could melt into her body! To inflame him further, the woman under him teased, "Your daughter has smallpox and they’re sacrificing in your home to the goddess. You ought to lead a clean life for a couple of days, not dirty yourself for me. Hurry up and get out of here.” "You’re my goddess," he panted, going all out. What do I care for any other goddess?" The more wanton the woman, the more debauched Romance Merchant revealed himself. At the end of this bout they vowed to be true to each other and could hardly bear to part. From that day they became sworn lovers. But Sister Ingenious’ illness spent its course, her pustules gradually healed. After twelve days they "saw off" the goddess and the whole family sacrificed to Heaven and their ancestors, made offerings, burnt incense, exchanged congratulations and distributed largesse. When these ceremonies were at an end, Romance Merchant returned to his old quarters and Splendid Phoenix King. As the proverb says, Reunion after long separation is better than a wedding night." We need not dwell on the transports of their love.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 05:41, 7 June 2021 (UTC)

=Chén Kērǔ 陈柯汝=
次日早起，凤姐往上房里去后，平儿收拾外边拿进来的衣服铺盖，不承望
枕套中抖出一绺青丝来，平儿会意，忙藏在袖内，便走至这边房内，拿出头发来，
向贾琏笑道：“这是什么？”贾琏一见，连忙抢上来要夺，平儿便跑，被贾琏一把揪
住，按在炕上，从手中来夺。平儿笑道：“你是没良心的，我好意瞒着他来问你，
你倒赌狠！等他回来我告诉了，看你怎么样。”贾琏听说，忙陪笑央求道：“好人，
你赏我罢，我再不敢赌狠了。”

一语未了，只听凤姐声音进来，贾琏听见松了不是，抢又不是，只叫：“好
人，别叫他知道！”平儿才起身，凤姐已走进来，命平儿：“快开匣子，替太太找样
子。”平儿忙答应了，找时，凤姐见了贾琏，忽然想起来，便问平儿：“前日拿出去
的东西都收进来没有？”平儿道：“收进来了。”凤姐道：“可少什么不少？”平儿
道：“细细查了，并没少一件儿。”凤姐又道：“可多什么没有？”平儿笑道：“不少
就罢了，怎么还有得多出来？”凤姐又笑道：“这半个月，难保干净，或者有相厚的
丢下的东西戒指、汗巾等物，亦未可定。”一席话，说的贾琏脸都黄了，在凤姐身
背后，只望着平儿杀鸡抹脖使眼色，求他遮盖。

The next morning, Phoenix Sister went up early and left for the principal room. Then, Patience took the clothing outside in and prepared for the bed. To her surprise, a wisp of hair fell down from the pillow case. She understood instantly and hid it under her sleeves. Then she entered the room where Romance Merchant was and took out that hair. She smiled to him: “What’s this?” As soon as he saw it, he was about to rob it; however, Patience ran away, she was caught and pressed on the kang by him, and he grabbed the hair in her hand too. Patience smiled: “You are a heartless creature! I asked you without letting her know out of kindness, but you pull a stunt like that. What will happen to you if I tell her?” Romance Merchant entreated her, smiling: “Fair girl, please do me a favour, I won’t make an act of sheer bravado.”
Before he could finish, Phoenix’s voice came in, which put him into a dilemma whether to loose it or to clutch it. He cried: “Fair girl, do not let her know!” Sister Phoenix had entered when Patience rose up. Sister Phoenix ordered Patience: “Get the patterns out of that box for the mistress, quick.” Patience promised quickly. When they were finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: “Have you taken in all the things that were taken out?” “ Yes, I brought them all in.” “ Anything lost?” “I checked carefully and nothing disappeared.” “Anything new appeared?” Patience smiled: “It is normal to check whether anything was lost, how could it be that anything new appears?” Sister Phoenix smiled: “For the past half month, it was difficult to make sure that nothing new appeared. Nobody can say sure that whether his lover outside left a ring, a scarf and so on.” These words paled his face; he begged Patient to hide this for him behind Sister Phoenix.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 05:27, 7 June 2021 (UTC)

The next morning, Sister Phoenix went up early and left for the principal room. Then, Patience took the clothing outside in and prepared for the bed. To her surprise, a wisp of hair fell down from the pillow case. She understood instantly and hid it under her sleeves. Then she entered the room where Romance Merchant was in and took out that hair. She smiled to him: "What's this?" As soon as he saw it, he was about to rob it; however, Patience ran away, who was caught and pressed at the kang by him, and the hair in her hand was grabbed as well. Patience smiled: “You are a heartless creature! Out of kindness, I came to ask you without letting her know, but you pull a stunt like that. What will happen to you if I tell her?” Romance Merchant entreated her, smiling: "Fair girl, please do me a favour, I won't make an act of sheer bravado."

Before he could finish speaking, Sister Phoenix's voice came in, which put him into a dilemma whether to loose it or to clutch it. He cried: "Fair girl, do not let her know!" Sister Phoenix had entered when Patient rose up. Sister Phoenix ordered Patient: "Get the patterns out of that box for the mistress, quick." Patience promised quickly. When she was finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: "Have you taken in all the things that were taken out?" "Yes, I brought them all in." "Anything lost?" "I checked carefully and nothing disappeared." "Anything new appeared?" Patience smiled: "It is normal to check whether anything was lost, how could it be that anything new appears?" Sister Phoenix smiled: "For the past half month, it was difficult to make sure that nothing new appeared. Nobody can say sure that whether his lover outside left a ring, a scarf and so on." These words paled his face; he begged Patient to hide this for him behind Sister Phoenix.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 07:57, 8 June 2021 (UTC)

=Dài Mùyǔ 戴沐雨=
平儿只作看不见，因笑道：“怎么
我的心就和奶奶一样！我就怕有这样的，留神搜了一搜，竟一点破绽也没有。
奶奶不信，亲自搜一搜。”凤姐笑道：“傻丫头，他便有这些东西，那里就叫咱们搜
着。”说着，拿了样子出去了。

平儿指着鼻子，摇着头儿，笑道：“这件事你该怎么谢我呢？”喜的贾琏眉开
眼笑，跑过来搂着，“心肝肠儿肉儿”乱叫。平儿手里拿着头发，笑道：“这是一
辈子的把柄儿。好就好，不好咱们就抖出这个来。”贾琏笑着央告道：“你好生
收着罢，千万可别叫他知道。”口里说着，瞅他不堤防，一把便抢过来，笑道：“你
拿着终是祸胎，不如我烧了，就完了事了。”一面说，面掖在靴掖子内。平儿咬
牙道：“没良心的，‘过了河儿就拆桥’，明儿还想我替你撒谎呢！”

贾琏见他娇俏动情，便搂着求欢，平儿夺手跑了出来，急的贾琏弯着腰恨
道：“死促狭小娼妇儿！一定浪上人的火来，他又跑了。”平儿在窗外笑道：“我
浪我的，谁叫你动火？难道图你受用，叫他知道了，又不代见我呀！”贾琏道：“你
不用怕他，等我性子上来，把这‘醋罐子’打个稀烂，他才认得我呢！他防我像
防贼似的．只许他同男人说话，不许我和女人说话。我和女人说话，略近些，他
就疑惑；他不论小叔子、侄儿、大的、小的，说说笑笑，就不怕我吃醋了。以后我
也不许他见人！”
Patience pretended not to see it and then smiled: “What a coincidence that what I thought was the same as yours. So I watched out for it especially to avoid such things, it turned out that there’s no flaw. If you don’t trust me, just search for it in person.” Splendid Phoenix King laughed: “My silly girl, if he does have those things, how could he tell us?” Saying this, she took the sample and walked out.

Patience pointed to the nose of Romance Merchant, with her head shaking, and said that: “How do you intend to thank me?” Romance Merchant was so joyful that his brows and eyes were curved, running to hug her and calling her “my sweet heart”, “my intestines”, and “my fleshes”. Holding hair in her hand, Patience smiled: “I could keep this handle for my whole life. If you treat me well, then I’ll keep your secret, otherwise I’m afraid I may not be able to keep it.” He then asked earnestly: “You just keep it well and don’t let her know.” At the time he said this, he grabbed it when she wandered, smiling: “Holding in your hands, it could be the disaster in the end. It will be much better if I burn it out.” Simultaneously he hided it in his sleeves. Gritting her teeth, Patience said: “You are just ungrateful, and you just kick down the ladder, I will never say one word for you.”

Witnessing her pretty, Romance Merchant hugged her for pleasure. Patience threw out his hands and ran away, letting him stoop and yelled: “What a whore you are! You are just profligate, attracting other’s attention and then dodging.” Patience laughed outside the window: “I am profligate by myself, who asks you to look at me? For your ability? Splendid Phoenix King would not tolerate me if she knew.” He replied: “You don’t need to fear her. Only when I take it seriously and break this “vinegar jar” can she realize my power. She guarded against me just as if I was a thief and she prohibited me from chatting to women but spoiling herself for talking with males. When I talked with women, if I stayed closer to them, she would think that I’ve done something bad; for her, she talked cheerfully with those uncles and nieces, juniors and seniors, ignoring my feelings. Anyway, I’ll limit the people she meet afterwards.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 15:43, 6 June 2021 (UTC)

Patience pretended not to see it and then laughed, “What a coincidence that what I thought was the same as what you thought. So I searched carefully, it turned out that there’s no flaw. If you don’t trust me, just search for it in person.” Splendid Phoenix King laughed, “My silly girl, if he does have those things, how could he let us detect it?” Saying this, she took the sample and walked out.

Patience pointed to the nose of Romance Merchant with a shaking head and said ,“How are you going to thank me for that?” Romance Merchant was so joyful that his brows and eyes were curved, running to hug her and calling her “my sweet heart”, “my intestines”, and “my fleshes”. Holding hair in her hand, Patience smiled: “I could keep this handle for my whole life. If you treat me well, then I’ll keep your secret, otherwise I’m afraid I may not be able to keep it.” He then asked earnestly: “You just keep it well and don’t let her know.” At the time he said this, he grabbed it when she wandered, smiling: “Holding in your hands, it could be the disaster in the end. It will be much better if I burn it out.” Simultaneously he hided it in his sleeves. Gritting her teeth, Patience said: “You are just ungrateful, and you just kick down the ladder, I will never say one word for you.”

Witnessing her pretty, Romance Merchant hugged her for pleasure. Patience threw out his hands and ran away, letting him stoop and yelled: “What a whore you are! You are just profligate, attracting other’s attention and then dodging.” Patience laughed outside the window: “I am profligate by myself, who asks you to look at me? For your ability? Splendid Phoenix King would not tolerate me if she knew.” He replied: “You don’t need to fear her. Only when I take it seriously and break this “vinegar jar” can she realize my power. She guarded against me just as if I was a thief and she prohibited me from chatting to women but spoiling herself for talking with males. When I talked with women, if I stayed closer to them, she would think that I’ve done something bad; for her, she talked cheerfully with those uncles and nieces, juniors and seniors, ignoring my feelings. Anyway, I’ll limit the people she meet afterwards.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 09:18, 9 June 2021 (UTC)

=Dèng Dān 邓丹=
平儿道：“他醋你使得，你醋他使不得，他原行的正，走的正，你
行动便有坏心，连我也不放心，别说他呀。”贾琏道：“你两个一口贼气！都是你
们行得是，我凡行动都存坏心。多早晚才叫你们都死在我手里呢！”

一句未了，凤姐走进院来，因见平儿在窗外，就问道：“要说话，怎么不在屋
里，跑出来隔着窗子，是什么意思？”贾琏在内接嘴道：“你可问他，倒像屋里有老
虎吃他呢！”平儿道：“屋里一个人没有，我在他跟前作什么？”凤姐笑道：“正是
没人才好呢。”平儿听说，便道：“这话是说我么？”凤姐便笑道：“不说你说谁？”
平儿道：“别叫我说出好话来了。”说着，也不打帘子，一径往那边去了。

凤姐自掀帘子进来，说道：“平儿丫头疯魔了，这蹄子认真要降伏起我来
了，仔细你的皮要紧！”贾琏听了，倒在炕上，拍手笑道：“我竟不知平儿这么利
害，从此倒服了他了。”凤姐道：“都是你兴的他，我只和你算帐就完了。”贾琏听
了啐道：“你两个不睦，又拿我来垫喘儿，我躲开你们。”凤姐道：“我看你躲到那
里击。”贾琏道：“我有处去。”说着就走，凤姐道：“你别走，我有话和你说呢。”不
知何事，且听下回分解。

Patience said,“She’s right to be jealous of you, but you’re wrong to be jealous of her.”“She has done nothing wrong. But you bear malice in your minid. Even I wouldn’t trust you.”“You two are in the same team. All you two do is right, all I do is wrong. Sooner or later I’ll avenge myself on what you've done on me.”
When he was speaking, Splendid Phoenix King walked into the yard. Seeing Patience at the window,she asked, “Why not talk in the room? Why run out of the room to shout through the window? What do you mean?”Jia Lian replied from the room,“she acts as if there's a tiger in the room determining to eat her."
“There's no one else in the room. Why should I stay there alone with him?” asked Patience.“That's fine”, Splendid Phoenix King smiled.“Is that remark aimed at me?”“Who else?” Splendid Phoenix King laughed.“Don’t make me say something you’ll be sorry for!” Instead of raising the door curtain, Patience went straight and left the room. Splendid Phoenix King raised the curtain herself and remarked, “The girl must be crazy, trying to threaten me. You’d better watch out!”“I never knew Patience could be so crazy,” Romance Merchant crowed, clapping his hands. “I've been convinced by her.”Romance Merchant had fallen back laughing on a heatable brick bed.“It’s you who’ve spoiled her. I'll hold you responsible.”“You can't get along well with her, why put the blame on me? I’d better make myself stay away from you", said Romance Merchant. “Where are you going?”“I will go somewhere pleasant”,replied Romance Merchant.“Wait,” said Splendid Phoenix King. “There’s something I'd like to talk with you.” To know what it was, read the next chapter.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 08:30, 9 June 2021 (UTC)

You two are in the same team now . All your guys do is right, all I do is wrong. Sooner or later I’ll avenge myself on what you've done on me.”
When he was speaking, Splendid Phoenix King walked into the yard. Seeing Patience at the window,she asked, “Why not talk in the room? Why run out of the room to shout through the window? What do you mean?”Jia Lian replied from the room,“she acts as if there's a tiger in the room determining to eat her."
“There's no one else in the room. Why should I stay there alone with him?” asked Patience.“That's fine”, Splendid Phoenix King smiled.“Is that remark aimed at me?”“Who else?” Splendid Phoenix King laughed.“Don’t make me say something you’ll be sorry for!” Instead of raising the door curtain, Patience went straight and left the room. Splendid Phoenix King raised the curtain herself and remarked, “The girl must be crazy, even trying to threaten me. I think you’d better watch out!”“I never knew Patience could be such a crazy person!” --[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:17, 9 June 2021 (UTC)Ding Zhongxia

=Dīng Zhòngxià 丁仲夏=
◎第二十二回听曲文宝玉悟禅机制灯谜贾政悲谶语

话说贾琏听凤姐儿说有话商量，因止步问：“是何话？”凤姐道：“二十一是
薛妹妹的生日，你到底怎么样？”贾琏道：“我知道怎么样？你连多少大生日都
料理过了，这会子倒没有主意了。”凤姐道：“大生日是有一定的则例。如今他
这生日，大又不是，小又不是，所以和你商量。”贾琏听了，低头想了半日，道：“你
竟糊涂了！现有比例，那林妹妹就是例。往年怎么给林妹妹做的，如今也照样
给薛妹妹做就是了。”凤姐听了冷笑道：“我难道这个也不知道？我原也这么想
定了。但昨日听见老太太说，问起大家的年纪生日来，听见薛大妹妹今年十五
岁，虽不是整生日，也算得将笄之年。老太太说要替他做生日，自然与往年给林
妹妹的不同了。”贾琏道：“既如此，就比林妹妹的多增些。”凤姐道：“我也这么
想着，所以讨你的口气。我若私自添了东西，你又怪我不告诉明白你了。”贾琏
笑道：“罢，罢！这空头情我不领；你不盘察我，就够了，我还怪你？”说着，一径去
了，不在话下。

Hearing that Splendid Phoenix King wanted to consult him about something, Jia Lian stopped to ask what it was.“It’s Baochai’s birthday on the twenty-first,” she said. “What do you intend to do about it?”“Why ask me that?” he retorted. “You’ve handled plenty of big birthday celebrations. Why can’t you cope with this?”“For big birthdays there are definite rules but this is neither big nor small, that’s why I wanted your advice.”He lowered his head to think before answering. “You’re losing your grip,” he said after a pause. “There’s a precedent in Baiyu’s birthday. Just celebrate this the same way.”“As if that hadn’t occurred to me too!” Splendid Phoenix King smiled mockingly. “But yesterday the old lady told me she’d been asking everybody’s age and learned that Baochai would be fifteen this year, and although that’s not a round number it means she’s reached marriageable age.If the old lady wants to celebrate her birthday specially, it’ll have to be different from Daiyu’s in the past.”“In that case, have things on a more lavish scale.”“That’s what I thought, but I wanted to sound you out so as not to be blamed for doing something extra on my own initiative without consulting you.”“Well, well! Why this sudden show of consideration? Me blame you? I’m quite satisfied if you don’t find fault with me.” With that he left, but where he went does not concern us.--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:16, 9 June 2021 (UTC)Ding Zhongxia

=Dù Xīnyǔ 杜心语=
且说史湘云住了两日，因要回去，贾母因说：“等过了你宝姐姐的生日，看
了戏，再回去。”史湘云听了，只得住下，又一面遣人回去，将自己旧日作的两件
针线活计取来，为宝钗生辰之仪。

谁想贾母自见宝钗来了，喜他稳重和平，正值他才过第一个生辰，便自己
捐资二十两，唤了凤姐来，交与他备酒戏。凤姐凑趣，笑道：“一个老祖宗，给孩
子们作生日，不拘怎样，谁还敢争？又办什么酒席。既高兴，要热闹，就说不得
自己花费几两老库里的体己。这早晚找出这霉烂的二十两银子来做东，意思还
叫我们赔上。果然拿不出来，也罢了；金的、银的、圆的、扁的，压塌了箱子底，只
是累掯们。举眼看看，谁不是你老人家的儿女？难道将来只有宝兄弟顶你老
人家上五台山不成？那些东西只留与他，我们如今虽不配使，也别苦了我们。
这个够酒的？够戏的？”说的满屋里都笑起来。贾母亦笑道：“你们听听这嘴！
我也算会说的了，怎么说不过这猴儿？你婆婆也不敢强嘴，你就和我‘??’啊
‘??’的。”凤姐笑道：“我婆婆也是一样的疼宝玉，我也没处去诉冤，倒说我强
嘴！”说着，又引贾母笑了一会。贾母十分喜悦。

After living in Jia's house for two days, Fragrant-cloud History was about to go back. Grandma Merchant said, "after Precious Jade Merchant's birthday, after watching the opera, I'll go back." After hearing this, Fragrant-cloud History had to stay. On the other hand, she sent someone back to take two pieces of needlework she had done before as Precious Jade Merchant's birthday gift.

But she never thought that when Precious Jade Merchant came, his grandmother liked his stable and peaceful character. On his first birthday in Jia's house, she paid 20 Liang for Splendid Phoenix King to prepare for his birthday party and opera. Splendid Phoenix King said with a smile: "an old ancestor celebrates children's birthday. No matter what, who dares to argue? What else is the banquet. As long as you are happy and lively, how much money can't you take out of your wallet? Sooner or later, if we can find out the rotten twenty taels of silver to be the host, there is no reason for us to compensate. If you can't get the money out, you can forget it; But gold, silver, round, flat money, I'm afraid it will collapse the bottom of the box, push together, do not want to take it out. Look up, who is not your son and daughter? Can only Precious Jade Merchant carry you to WUBAOSHAN in the future? The legacy is only left to him. Although we are not qualified now, don't let us suffer. Is this enough for opera singers? " All the talk made the house laugh. "Listen to this," Grandma Merchant said with a smile ”I can say it. How can I not say this man? Your mother-in-law dare not answer back. " Splendid Phoenix King said with a smile, "my mother-in-law loves Precious Jade Merchant the same way. I have no place to complain. Instead, you say I have to fight back!" She said, and made the lady laugh for a while. Grandma Merchant was very happy.

=Guō Yàbō 郭亚波=
到晚上，众人都在贾母前，定省之余，大家娘儿姊妹等说笑时，贾母因问宝
钗爱听何戏，爱吃何物。宝钗深知贾母年老人，喜热闹戏文，爱吃甜烂之物，便
总依贾母素喜者说了一遍，贾母更加喜欢。次日，先送过衣服玩物去，王夫人、
凤姐、黛玉等诸人皆有随分的，不须细说。

至二十一日，就贾母内院搭了家常小巧戏台，定了一班新出小戏，昆弋两
腔俱有。就在贾母上房摆了几席家宴酒席，并无一个外客，只有薛姨妈、史湘
云、宝钗是客，余者皆是自己人。这日早起，宝玉因不见黛玉，便到他房中来寻。
只见黛玉歪在炕上，宝玉笑道：“起来吃饭去，就开戏了，你爱听那一出，我好
点。”黛玉冷笑道：“你既这样说，你就特叫一班戏，拣我爱的唱与我听，这会子犯
不上借着光儿问我。”宝玉笑道：“这有什么难的，明儿就这样行，也叫他们借着
咱们的光儿。”一面说，一面拉他起来，携手出去。

吃了饭，点戏时，贾母一面先叫宝钗点，宝钗推让一遍，无法，只得点了一折
《西游记》。贾母自是欢喜。然后使命凤姐点。凤姐虽有王夫人在前，但因贾
母之命，不敢违拗；且知贾母喜热闹，更喜谑笑科诨，便先点了一出，却是《刘二
当衣》。贾母果真更又喜欢。然后使命黛玉点，黛玉又让王夫人等先点。

That night, after the family had gathered to pay their evening respects to the Grandma Merchant and then gone on to chat, she asked Precious Haipin to name her favourite operas and dishes. Knowing the old lady’s partiality for lively shows and sweet, pappy food, Precious Haipin gave these as her own preferences, adding even more to the Grandma Merchant’s pleasure. The first thing next day she had presents of clothing and trinkets sent to the girl. Lady King, Splendid Phoenix, Mascara Jade and the others also sent theirs according to the status of each. But these need not be enumerated in detail. On the twenty-first a small stage was set up in the Grandma Merchant’s inner courtyard and a new troupe of young actresses had been hired who were able to perform both Kunqu and Yiyang operas. Tables were laid in the hail for a family feast, to which no outsiders were asked: apart from Aunt Marshgrass, Fragrant-cloud and Precious Haipin, who were guests, all the rest would be members of the family. Not seeing Mascara Jade that morning, Precious Jade went to look for her and found her curled up on her kang. “Come on to breakfast,” he said, “The show will soon be starting. Tell me which opera you’d like and I’ll ask for it.” Mascara Jade smiled disdainfully: “If that’s how you feel, you’d better hire a special company to play my favourite pieces instead of expecting me to cash in on someone else’s birthday.” “That’s easy, we’ll hire a company next time and let the rest of them cash in on us. He pulled her up and they went off hand in hand. After breakfast it was time to choose the plays and the Grandma Merchant called on Precious Haipin to name her choice. The girl declined the honour at first but finally, to the old lady’s delight, named a scene from Pilgrimage to the West. Next, Splendid Phoenix was ordered to take her pick. And knowing the old lady’s liking for lively plays, especially comedies and burlesques, she pleased her even more by selecting Liu Er Pawns His Clothes. Mascara Jade, told to choose next, deferred to Aunt Marshgrass and Lady King.

=Huáng Fāngfāng 黄芳芳=
贾母道：“今儿原是我特带着你们取乐，咱们只管咱们的，别理他们。我巴巴的唱戏
摆酒，为他们不成？他们在这里白听，白吃，已经便宜了，还让他们点戏呢！”说
着，大家都笑。黛玉方点了一出。然后宝玉、史湘云、迎春、探春、惜春、李纨等
俱各点了，按出扮演。

至上酒席时，贾母又命宝钗点，宝钗点了一出《鲁智深醉闹五台山》。宝玉
道：‘你只好点这些戏。”宝钗道：“你白听了这几年戏，那里知道这出戏的好处？
排场又好，词藻更妙。”宝玉道：“我从来怕这些热闹戏。”宝钗笑道：“要说这一
出‘热闹’，还算你不知戏呢。你过来，我告诉你，这一出戏是一套‘北点绛唇’，
铿锵顿挫，那音律不用说是好的了；只那词藻中，有一只‘寄生草’，填得极妙，你
何曾知道！”宝玉见说的这般好，便凑近来央告：“好姐姐，念与我听听。”宝钗便
念道：
漫揾英雄泪，相离处士家。谢慈悲，剃度在莲台下。没缘法，转眼分
离乍。赤条条，来去无牵挂。那里讨，烟蓑雨笠卷单行？一任俺，芒鞋破
钵随缘化！

Grandma Merchant said:" I was going to let you have fun. So let's focus on our happiness and let them alone. Don't I order others to sing operas and prepare a meal for them? They have taken advantage of listening and eating freely here. They even are allowed to order plays." People all laughed when Grandma Merchant was talking. Then Mascara Jade ordered one play. Precious Jade, Fragrant-cloud History, Spring Pleasure, Seeking-Spring, Cherishing Spring, and Silk Plum followed her to order some plays. Opera singers performed with the orders.

When the meal was served, Grandma Merchant had Precious Hairpin to order another more play. Precious Hairpin ordered the play, Drunken Intelligent Savage' trick on the Five Stages Mountain. Precious Jade said:" You order plays like only this kind of plays." Precious Hairpin replied:" You have listened opera plays in vain these years. Aren't you sure about the advantages of this play. It was well arranged and had flowery language." Precious Jade said:" I have ever been afraid of such lively opera plays." Precious Hairpin said with a smile:" If you say this is lively one, you still don't have a good knowledge of the play. Come here. I tell you that the play is ＇Crimson the Lips of the North Point＇, which is sonorous and resonant, and whose rhythm is good undoubtedly. There is a ＇Parasitic Weed ＇ in its phrases. It was wonderfully filled and you never know it!" Hearing that it was thought highly, Precious Jade came closed to her and begged her:" Good sister, please you read it for me." Precious Hairpin read:" Weeping my tears for the moment, I leave my close friend's home. Giving thanks to Bodhisattva's mercy, I can have my head shaved under the Lotus Platform. Having no karma, we have to break up. I am alone with nothing. I am free from care to come and go. Where can I find a kind of life where I can go anywhere if I want？ Let me wear a pair of straw sandals and bring a broken plate with me to travel around the world with fate."

=Huáng Lìpèi 黄沥霈=
宝玉听了，喜的拍膝摇头，称赏不已，又赞宝钗无书不知。林黛玉道：“安静看戏
罢！还没唱《山门》，你就《妆疯》了。”说的湘云也笑了。于是大家看戏，到晚方
散。

贾母探爱那做小旦的与一个做小丑的，因命人带进来，细看时，益发可怜
见。因问年纪，那小旦才十一岁，小丑才九岁，大家叹息了一回。贾母令人另拿
些肉果与他两个，又另赏钱两吊。凤姐笑道：“这个孩子扮上活像一个人，你们
再看不出。”宝钗心内也知道，却点点头不说；宝玉也点了点头，亦不敢说。史湘
云便接口道：“倒像林姐蛆的模样。”宝玉听了，忙把湘云瞅了一眼．使个眼色，众
人听了这话，留神细看，都笑起来了，说“果然像得狠！”一时散了。

晚问，湘云便命翠缕把衣包收拾了，翠缕道：“忙什么？等去的那日包也不
迟。”湘云道：“明早就走，还在这里做什么？看人家的嘴脸！”宝玉听了这话，忙
近前说道：“好妹妹，你错怪了我。林妹妹是个多心的人。别人分明知道，不肯
说出来，也皆因怕他恼。谁知你不防头就说了出来，他岂不恼？我怕你得罪了
人，所以才使眼色。你这会子恼了我，岂不辜负了我？若是别个，那怕他得罪了
十个人，与我何干呢！”

As soon as Precious Jade had listened to Precious Hairpin's recital, he was joyful that clapping his knees with his hands and shaking his head, he has lauded her recital and then he told Precious Hairpin, saying: "There is no book that you don't know!" "Be quiet! and listen to the play," Mascara Jade Forest urged, "they haven't sung about the 'mountain gate' yet and you already 'pretend to be mad'!" At these words, Fragrant-cloud also laughed. Therefore, the whole party watched the performance until evening and they broke up.

Grandma Merchant was so much into the young actor who played the role of a lady as well as the one who acted as a buffoon, so she gave orders to bring them in, and as she looked them closely, she felt much more interest on them, then she went on to inquire what their ages were. When the actor who played the role as a lady replied that he was just eleven while the other one was just nine. The whole party gave an expression of sympathy for them. Then, Grandma Merchant let servants to bring some fresh fruits and meats for both of them and also gave them two tiaos as a present apart from their wages. “This young actor looks like a certain person when he dressed up as a girl, did you notice it?" Lady Phoenix observed and smiled. Precious Hairpin was also aware of the fact, but she simply nodded her head and did not say who it was. Precious Jade— shaking his head — did not presume to speak out. However, Fragrant-cloud History readily took up the conversation. She interposed, "He resembles Cousin Forest's face!" When this remark reached Precious Jade's ear, he casted an angry scowl at Fragrant-cloud and to make her a sign, while the whole party indulged in careful of the young actor after hearing what had been said and they began to laugh: "They really look alike!" they exclaimed. After a while, they parted.

When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. " What is in the hurry?" Kingfisher asked, " they will have time to pack up on the day we left." "We will left tomorrow morning," Fragrant-cloud rejoined, "for what the point is to stay here and have to look at people's mouths and faces!" At these words, Precious Jade pressed forward and urged: "My dear cousin, you are wrong in bearing me a grudge! Cousin Forest is a girl that very touchy, so though one else distinctly knew the answer and they wouldn't speak out and all because they were afraid that she would be angry but you came out with unexpectedly, at that moment when off your guard, how couldn't she not feel hurt? It was also because I was afraid that you would given offence to other people so I winked at you and now here you are angry at me, wasn't that being ungrateful to me? Had it been anyone else, would I care whether she had given ofeence to even ten, and that would had been none of my business!"

=Huáng Xiàolán 黄笑兰=
湘云摔手道：“你那花言巧语，别望着我说。我也原不如
你林妹妹，别人拿他取笑都使得，只我说了就有不是。我原不配说他，他是主子
小姐，我是奴才丫头，得罪丁他了。”宝玉急的说道：“我倒是为你为出不是来了。
我要有坏心，立刻化成灰，教万人践踏！”湘云道：“大正月里，少信口胡说这些没
要紧的恶誓散语歪话！说给那些小性儿、行动爱恼人、会辖治你的人听去！别
叫我啐你。”说着，至贾母里间屋里，忿忿的躺着去了。

宝玉没趣，只得又来寻黛玉。谁知才进门，便被黛玉推出来，将门关了。
宝玉又不解何故，在窗外只是低声叫：“好妹妹。”黛玉总不理他。宝玉闷闷的
垂头不语。袭人早知端的，当此时，再不能劝。

那宝玉只呆呆的站着。黛玉只当他回去了，却开了门，只见宝玉还站在那
里。黛玉不好再闭门，宝玉因随进来，问道：“凡事都有个原故，说来，人也不委
屈。好好的就恼了，到底是为什么起？”黛玉冷笑道：“问的我倒好，我也不知为
什么。我原是给你们取笑的？拿着我比戏子，给众人取笑。”宝玉道：“我并没
有比你，也并没有笑你，为什么恼我呢？”黛玉道：“你还要比？你还要笑？你不
比不笑，比人家比了笑了的还利害呢！”宝玉听说，无可分辩。

Fragrant-cloud waved him crossly away. "Don't try to get round me with your flattering talk. I'm not in the same class as your Cousin Mascara Jade. It's all right for other people to make fun of her, but I'm not even allowed to mention her. She's a grand young lady, I'm a slave-how dare I offend her?" "I was only thinking of you, yet now you put me in the wrong." Precious Jade was desperate. "If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!" "Stop talking such nonsense just after the New Year. Or go and rave if you must to those petty-minded creatures who are so quick to take offence, and who know how to manage you. Don't make me spit at you!" She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.

After this snub Precious Jade went to look for Mascara Jade, but scarcely had he set foot in her room than she pushed him out and closed the door in his face. Mystified, he called in a subdued voice through the window: "Dear cousin!" But Mascara Jade simply ignored him. He hung his head then in dejected silence. Aroma knew it would be useless to reason with him just then.

So he was standing there like a fool when Mascara Jade opened the door, thinking him gone. When she saw him still standing there, she hadn't the heart to shut him out again. She turned away and curled up on her bed, while he followed her into the room. "There's always a reason for everything," he said. "If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?" "A fine question to ask!" Mascara Jade gave a short laugh. "I don't know. For you I'm a figure of fun, to be compared with an actress in order to raise a laugh. " "But why be angry with me? I didn't make the comparison. I didn't laugh. " "I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons." Precious Jade did not know how to defend himself and was silent.

=Huáng Zǐlóng 黄梓龙 Mr.=
黛玉又道：“这一
节还可恕。再者，你为什么又和云儿使眼色？这安的是什么心？莫不是他和我
玩，他就自轻自贱了？他是公侯的小姐，我原是贫民家的丫头。他和我玩，设如
我回了口，岂不是他自惹轻贱？你是这个主意不是？你却也是好心，只是那一
个不领你的情，一般也恼了。你又拿我作情，倒说我‘小性儿，行动肯恼人’。
你又怕他得罪了我，我恼他，与你何于？他得罪了我，又与你何干？”

宝玉听了，知方才与湘云私谈，他也听见了。细想自己原为怕他二人生
隙，故在中间调停，不料自已反落了两处的贬谤，正与前日所看《南华经》内：
“巧者劳而智者忧，无能者无所求，蔬食而邀游，泛若不系之舟。”又曰：“山木自
寇，源泉自盗”等句，因此越想越无趣；再细想来：“如今不过这几个人，尚不能应
酬妥协，将来犹欲何为？”想到其间，也无庸分辩，自己转身回房。林黛玉见他去
了，便知回思无趣，赌气去了，一言也不曾发，不禁自己越舔了气，便说：“这一
去，一辈子也别来了，也别说话！”

那宝玉不理，竟回来，躺在床上，只是闷嗗咄的。

"I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud," Mascara Jade went on. "Just what did you mean by that?" That she would lower and cheapen herself by joking with me? She is a daughter of a noble house, I'm a nobody. If she were to joke with me and i answered back, that would be degrading for her- was that the idea? That was certainly kind of your part. Too bad she didn't appreciate your thoughtfulness but flared up all the same. Then you tried to excuse yourself at my expense,calling me 'pretty-minded and quick to take offence." You were afraid she might offend me, were you? But what is it to you if I ger angry with her? Or if she offends me?"

Precious Jade realized that she had overheard his conversation with Fragrant-cloud. He had intervened in an attempt to prevent bad feeling between them but, having failed, was now held to blame by both sides. This reminded him of the passage in Zhuangzi:"The ingenious work hard, the wise are full of care; but those without ability have no ambition. They enjoy thir food and wander at will like drifting boats freed form their moorings." And again:" Mountain trees are the first to be falled, clear fountains the first to be consumed." The more he thought the more depressed he grew. "If I can't even cope now with just these two, what will it be like in the future?" he reflected. At this point it seemed quite useless to attempt to justify himself, so he started back to his room.Mascara Jade realized that he must be very dejected by what had occurred to go off so sulkily without a word. But this only made her angrier than ever." Go then!" she cried." And don't ever come back! Don't speak to me again!"

Precious Jade paid no attention. Returning to his room, he lay down on his bed starting fixedly before him.

"I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud," Mascara Jade went on. "Just what did you mean? That she would lower and cheapen herself because of playing with me? She is a noble young lady, but I'm only the poor. If she were to play with me and I answered back, that would degrade for her.This is your meaning! You are certainly kind, but she didn't appreciate your thoughtfulness, and flared up all the same. Then you tried to excuse yourself at my expense,calling me pretty-minded and quick to take offence." You were afraid she might offend me, were you? But what is it to you if I get angry with her? Or if she offends me?"

Precious Jade realized that she had overheard their conversation. His aim is to solve contradiction between them but was now held to blame by them. This reminded him of the passage in Zhuangzi:"The ingenious work hard, the wise are full of care; but those without ability have no ambition. They enjoy their food and wander at will like drifting boats freed form their moorings." And again:" Mountain trees are the first to be fell, clear fountains the first to be consumed." The more he thought the more depressed he grew. "If I can't even cope now with just these two, what will it be like in the future?" he reflected. At this point it seemed quite useless to attempt to justify himself, so he started back to his room.Mascara Jade realized that he must be very dejected by what had occurred to go off so sulkily without a word. But this only made her angrier than ever." Go then!" she cried." And don't ever come back! Don't speak to me again!"

Precious Jade had no response, and returned to his room,laid down on his bed starting fixedly before him. ——Li Yihao

=Lǐ Yìhào 李艺浩=
袭人深知原委，不敢就说，只得以他事来解说，因笑道：“今儿看了戏，又勾出几天戏来。宝姑娘一定要还席呢。”宝玉冷笑道：“他还不还，与我什么相干？”袭人见这话不似往日口吻，因又笑道：“这是怎么说？好好的大正月里，娘儿们姊妹们都喜喜欢欢，你又怎么这个行景了？”宝玉冷笑道：“他们娘儿们姊妹们欢喜不欢喜，也与我无干。”袭人笑道：“他们随和，你也随和些，岂不喜欢？”宝玉道：“什么‘大家彼此’？他们有‘大家彼此’，我只是赤条条无牵挂的。”言及此句，不觉泪下。袭人见此景况，不敢再说。宝玉细想这一句意味，不禁大哭起来，翻身站起来，至案边，提笔立占一偈云：
你证我证，心证意证。是无有证，斯可云证。无可云证，是立足境。写毕，自己虽解悟，又恐人看此不解，因又填一只“寄生草”，写在偈后。又念一过，自觉心中无有挂碍，便上床睡了。谁知黛玉见宝玉此番果断而去，假以寻袭人为由，来视动静。袭人回道：“已经睡了。”黛玉听了，就欲回去，袭人笑道：“姑娘请站着，有一个字帖儿，瞧瞧是什么话。”便将宝玉方才所写的与黛玉看。
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled,"I saw the play today,and I will space several other days to see play. Precious Hairpin Marshgrass must come." Precious Jade Merchant sneered: "Whether she come or not come, it is matter for me?" Aroma felt the words did not seem to be his usual tone, so she laughed again, "Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?" Precious Jade Merchant sneered, "It is nothing to do with me whether your ladies or sisters are happy or not." Aroma said with a smile, "They will be easygoing, and you will be easygoing. And you all are happy together?" Precious Jade Merchant said, "Each other? They have intimate relationship but I'm just excluded and have no relationship with them." While Speaking of this sentence, he can't help crying. Seeing this, Aroma dare not say anything any more. Thinking over the meaning of his words,burst into tears, turned to his feet, went to the table, picked up his pen and wrote a verse:
You think you know it, I think I know it, but it is only through the communion of the heart that the true understanding can be achieved. When there is no more understanding, it can be said to be truly thorough consciousness. The highest state of thought is reached when there is no more need to be tested. After writing this poem, although he understood it, he was afraid that others would not understand it, so he added a "parasitic grass" after the chapter. After reading it again, he felt that he was relaxed and went to asleep. It is beyond imagination that Mascara Jade Forest saw Precious Jade Merchant decisively left. So she pretended to seek to Aroma but in fact to see Precious Jade Merchant. Aroma replied, "He has been already asleep." Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile, "Girl, please stand here. I have a post and would like you see what it is." Then Aroma read to Mascara Jade Forest what Precious Jade Merchant had just written.

=Liú Tíngyáng 刘廷阳=
黛玉看了，知宝玉为一时感忿
而作，不觉可笑可叹。便向袭人道：“作的是个玩意儿，无甚关系。”说毕，便拿了
回房去，与湘云同看。次日，又与宝钗看，宝钗念其词曰：

无我原非你，从他不解伊。肆行无碍凭来去。茫茫着甚悲愁喜，纷纷
说甚亲疏密？从前碌碌却因何？到如今，目头试想真无趣！
看毕，又看那偈语，又笑道：“这个人悟了。都是我的不是，是我昨儿一支曲子惹
出来的。这些道书机锋，最能移性，明几认真起来，说些疯话，存了这个念头，岂
不是从我这一支曲子起？我成了个罪魁了。”说着，便撕了个粉碎，递与丫头们，
叫：“快烧了。”黛玉笑道：“不该撕了，等我问他。你们跟我来，包管叫他收了这
个痴心邪说。”

三人果往宝玉屋里来。黛玉先笑道：“宝玉，我问你：至贵者‘宝’，至坚者
‘玉’。尔有何贵？尔有何坚？宝玉竟不能答。二人笑道：“这样愚钝，还参禅
呢！”湘云也拍手笑道：“宝哥哥可输了！”黛玉又道：“你那偈末云，‘无可云证，
是立足境’，固然好了，只是据我看来，还未尽善。我还续两句在后。”因念云：
“无立足境，方是干净。”

Daiyu watched, and knows that it was baoyu’s work with angry, so she smiled and plaint. And she said to Xiren: " Well it's an interesting thing, just let him go." After that, she took it back to her room and read it again with Xiangyun. The next day, she brought it to Baochai, who reads it aloud:
We are different, and also he doesn't understand you. Running freely in my way. Wondering, what’s my sadness and happiness? Why am I so busy? Until now, everything is boring to think about!” After reading it and review it, Baochai laughed again: "This man got it. It's all my mistakes for I played a tune yesterday. These Taoist songs are the most translatable things to a person’s personality. If he takes it seriously, speaks some crazy words, and save such ideas, I've become the original criminal."As she said, baochai tore it to pieces, handed it to servant girls, and said："Burn it up, hurry up." "No, you shouldn’t tear it. Wait, I’ll ask him. Come with me, he will not say that again."Daiyu said with a smile.
Consequently, these three girls came up to Baoyu’s room. Daiyu smiled first, and said: “Baoyu, let me ask you a question. The most expensive thing is treasure, and the hardest thing is jade. Where is the expensive or hard part of you? ” Baoyu didn’t know how to answer. Daiyu and Baochai laughed and said to him: “ You are so fool to awaken! ” Xiangyun laughed with clapping hand and said: “ Brother Jade is the loser!” Daiyu made a comment again: “ The last part of your maxim says, ‘ there’s no evident to support, so to support it with practice.’ It’s not bad, but in my opinion, it doesn’t good enough. I want to add two sentences, ‘If there’s no practice, there’s no everything.’”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 04:48, 7 June 2021 (UTC)

Mascara Jade watched, and knows that it was Precious Jade's work with angry, so she didn't think it deserved smiling at and appreciating. And she said to Aroma: " Well it's an interesting thing, just let him go." After that, she took it back to her room and read it again with Fragrant-cloud. The next day, she brought it to Precious Hairpin, who read it aloud:

We are different, and also he doesn't understand you. Running freely in my way. Wondering, what’s my sadness and happiness? What's closeness and distance? What was I busy for before? Until now, everything is boring to think about!” After reading it and the Buddhist verse, Precious Hairpin laughed again: "This man got a sudden enlightenment. It's all my fault to play that tune yesterday. These Taoist songs are the most translatable things to a person’s personality. If he takes it seriously, speaks some crazy words, and keeps such ideas, I will become the original criminal."As she said, Precious Hairpin tore it into pieces, handed it to servant girls, and said："Burn them up, hurry up." "No, you shouldn’t tear it. Wait, I’ll ask him. Come with me. He will not have such ideas again."Mascara Jade said with a smile.

Consequently, these three girls came up to Precious Jade’s room directly. Mascara Jade smiled first, and said: “Precious Jade, let me ask you a question. The most expensive thing is treasure, and the hardest thing is jade. Where is the expensive or hard part of you? ” Precious Jade didn’t know how to answer. Mascara Jade and Precious Hairpin laughed and said to him: “ You are so fool to practice meditation! ” Fragrant-cloud laughed with clapping hands and said: “ Brother Jade is the loser!” Mascara Jade made a comment again: “ The last part of your verse says, ‘ there’s no evident to support, so to support it with practice.’ It’s not bad, but in my opinion, it is not good enough. I want to add two sentences after them, ‘If there’s no practice, there’s nothing.’”--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 09:35, 8 June 2021 (UTC)

=Liú Zhuōfán 刘卓凡 Mr.=
宝钗道：“实在这方悟彻。当日南宗六祖惠能，初寻师
至韶州，闻五祖宏忍在黄梅，他便充役火头僧。五祖欲求法嗣，令徒弟请僧各出
一偈，上座神秀说道：‘身是菩提树，心如明镜台；时时勤拂拭，莫使有尘埃。’彼
时惠能在厨房舂米，听了这偈说道：‘美则美矣．了则未了。’因自念一偈日：‘菩
提本非树，明镜亦非台；本来无一物，何处染尘埃？’五祖便将衣钵传他。今儿这
偈语亦同此意了。只是方才这句机锋，尚未完全了结，这便丢开手不成？”黛玉
笑道：“他不能答就算输了，这会子答上了也不为出奇了。只是以后再不许谈
禅了。连我们两个所知所能的，你还不知不能呢，还去参禅呢。”宝玉自己以为
觉悟，小想忽被黛玉一问，便不能答；宝钗又比出“语录”来，此皆素不见他们能
者。自己想了一想：“原来他们比我的知觉在先，尚未解悟，我如今何必自寻苦
恼。”想毕，便笑道：“谁又参禅，不过是一时的玩话儿罢了。”说罢，四人仍复如
旧。

忽然人报娘娘差人送出一个灯谜来，命他们大家去猜，猜后每人也作一个
送进去。四人听说，忙出来至贾母上房，只见一个小太监，拿了一盏四角平头白
纱灯，专为灯谜而制，上面已有了一个，众人都争看乱猜。

Precious Hairpin said, “That shows your thorough understanding. In the past, Wit Ability, the sixth forefather of Zen Buddhism’s south sect, wanted to acknowledge the fifth forefather Hung-jen as his master, so he came to Beauty County. Hearing Hung-jen was in Yellow Plum, he served as a cooking monk for him. Hung-jun was going to pick a successor for himself, so he asked his disciples to come up with a Buddhist verse respectively. His chief disciple Miracle said: ‘The body is a bodhi tree. The heart is a mirror. Always wipe, do not coat it with dust.’ At that time, Wit Ability was pounding rice in the kitchen. He heard it and said: ‘It is beautiful enough but not finished.’ Then, he created another verse which said: ‘There is no Bodhi. There is no mirror. Nothing exists. What could the dust coat?’ Therefore, Hung-jen passed his mantle to him. Today, this verse means the same thing. But the keen words are not finished, do you want to abandon it?” Mascara Jade laughed and said: “He has been lost when he could not answer it. If he come up with it now, it is also not surprising. Just don't talk about Zen anymore. You don’t even know what we know. How can you practise meditation?” Precious Jade thought he had thoroughly understanded and he never predicted that he would fail to answering Mascara Jade’s question. Besides, Precious Hairpin also mentioned the allusion. These all proved that he was not as knowledgeable as them. Again, he thought that they had began to think about the question earlier than him but they still did not understand thoroughly; then, he did not have to trouble himself. After considering these, he said: “Who says I am going to practise meditation? I am just kidding.” After that, the four became reconciled again.

Suddenly, someone came to report that the imperial concubine ordered someone to send a lantern riddle to them; after they guessed, they had to come up with one respectively and sent them to palace. They heard that and rushed to Grandma Merchant’s room. A little eunuch was there, taking a quadrangle and flatheaded white gauze lantern which was designed for lantern riddles with one riddle already on it. People all competed to see and guess.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 08:57, 4 June 2021 (UTC)

=Péng Jiāyù 彭佳钰=
小太监又下谕道：“众
小姐猜着，不要说出来，每人只暗暗的写了，一齐封送进去，侯娘娘自验是否。”
宝钗听了，近前一看，是一首七言绝句，并无新奇，口中少不得称赞只说“难
猜。”故意寻思，其实一见早猜着了。宝玉、黛玉、湘云、探春四个人也都解了，各
自暗暗的写了。一并将贾环贾兰等传来，一齐各揣心机猜了，写在纸上，然后各
人拈一物作成一谜，恭楷写了，挂于灯上。

太监去了，至晚出来，传谕道：“前日娘娘所制，俱已猜着，惟二小姐与三爷
猜的不是。小姐们作的也都猜了，不知是否？”说着，也将写的拿出来，也有猜着
的，也有猜不着的。太监又将颁赐之物，送与猜着之人，每人一个宫制诗筒，一
柄茶筅。独迎春贾环二人未得，迎春自以为玩笑小事，并不介意，贾环便觉得没
趣。且又听太监说：“三爷所作这个不通，娘娘也没猜着，叫我带回问三爷是个
什么。”众人听了，都来看他作的是什么，写道：

大哥有角只八个，二哥有角只两根。大哥只在床上坐，二哥爱在房上蹲。
众人看了，大发一笑。贾环只得告诉太监说：“是一个枕头，一个兽头。”太监记
了，领茶而去。

=Shū Lín 舒琳=
贾母见元春这般有兴，自己一发喜乐，便命速作一架小巧精致围屏灯来，
设于堂屋，命他姊妹们各自暗暗的做了，写出来，粘在屏上，然后预备下香茶细
果，以及各色玩物，为猜着之贺。贾政朝罢，见贾母高兴，况在节间，晚上也来承
欢取乐。上面贾母、贾政、宝玉一席，王夫人、宝钗、黛玉、湘云又一席，迎春、探
春、惜春三人又一席，俱在下面。地下婆子丫鬟站满。李宫裁、王熙凤二人在里
间又一席。

贾政因不见贾兰，便间：“怎么不见兰哥儿？”地下女人们忙进里间问李氏，
李氏起身笑着回道：“他说方才老爷并没去叫他，他不肯来。”婆子回复了贾政，
众人都笑说：“天生的牛心古怪。”贾政忙遣贾环与两个婆子将贾兰唤来，贾母
命他在身边坐了，抓果子与他吃，大家说笑取乐。往常间只有宝玉长谈阔论，今
日贾政在这里，便唯唯而已。余者，湘云虽系闺阁弱质，却素喜谈论，今日贾政
在席，也白钳口禁语；黛玉本性娇懒，不肯多话；宝钗原不妄言轻动，便此时亦是
坦然自若。故此一席，虽是家常取乐，反见拘束。

贾母亦知因贾政一人在此所致，酒过三巡，便撵贾政去歇息。

Grandma Merchant, noticing in what buoyant spirits First Spring Merchant was, felt herself so much the more elated, that issuing forthwith directions to devise, with every despatch, a small but ingenious lantern of fine texture in the shape of a screen, and put it in the Hall, she bade each of her grandchildren secretly compose a conundrum, copy it out clean, and affix it on the frame of the lantern; and she had subsequently scented tea and fine fruits, as well as every kind of nicknacks, got ready, as prizes for those who guessed right.
And when Master Merchant came from court and found Grandma Merchant in such high glee he also came over in the evening, as the season was furthermore holiday time, to avail himself of her good cheer to reap some enjoyment. In the upper part of the room seated themselves, at one table dowager Grandma Merchant, Master Merchant, and Precious Jade Merchant; Lady King, Precious Hairpin Marshgrass Mascara Jade Forest, Fragrant-cloud History sat round another table, and Spring Pleasure Merchant, Seeking-Spring Merchant and Cherishing Spring Merchant, the three of them, occupied a separate table, and both these tables were laid in the lower part, while below, all over the floor, stood matrons and waiting-maids for Li Kung-ts'ai and Splendid Phoenix King were both seated in the inner section of the Hall, at another table.
Master Merchant failed to see Chia Lan, and he therefore inquired: "How is it I don't see brother Lan," whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Li. "He says," Mrs. Li stood up and rejoined with a smile, "that as your master didn't go just then to ask him round, he has no wish to come!" and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: "How obstinate and perverse his natural disposition is!" But Master Merchant lost no time in sending Chia Huan, together with two matrons, to fetch Chia Lan; and, on his arrival, dowager Grandma Merchant bade him sit by her side, and, taking a handful of fruits, she gave them to him to eat; after which the party chatted, laughed, and enjoyed themselves.
Ordinarily, there was no one but Precious Jade Merchant to say much or talk at any length, but on this day, with Master Merchant present, his remarks were limited to assents. And as to the rest, Fragrant-cloud History had, though a young girl, and of delicate physique, nevertheless ever been very fond of talking and discussing; but, on this instance, Master Merchant was at the feast, so that she also held her tongue and restrained her words. As for Mascara Jade Forest she was naturally peevish and listless, and not very much inclined to indulge in conversation; while Precious Hairpin Marshgrass, who had never been reckless in her words or frivolous in her deportment, likewise behaved on the present occasion in her usual dignified manner. Hence it was that this banquet, although a family party, given for the sake of relaxation, assumed contrariwise an appearance of restraint, and as Grandma Merchant was herself too well aware that it was to be ascribed to the presence of Master Merchant alone, she therefore, after the wine had gone round three times, forthwith hurried off Master Merchant to retire to rest.--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 03:36, 5 June 2021 (UTC)

Grandma Merchant, noticing in what buoyant spirits First Spring Merchant was, felt herself so much the more elated, that issuing forthwith directions to devise, with every despatch, a small but ingenious lantern of fine texture in the shape of a screen, and put it in the Hall, she bade each of her grandchildren secretly compose a conundrum, copy it out clean, and affix it on the frame of the lantern; and she had subsequently scented tea and fine fruits, as well as every kind of nicknacks, got ready, as prizes for those who guessed right. And when Master Merchant came from court and found Grandma Merchant in such high glee he also came over in the evening, as the season was furthermore holiday time, to avail himself of her good cheer to reap some enjoyment. In the upper part of the room seated themselves, at one table dowager Grandma Merchant, Master Merchant, and Precious Jade; Lady King, Precious Hairpin, Mascara Jade, Fragrant-cloud sat round another table, and Spring Pleasure, Seeking-Spring and Cherishing Spring, the three of them, occupied a separate table, and both these tables were laid in the lower part, while below, all over the floor, stood matrons and waiting-maids for Aulic Sanction Plum (Silk Plum) and Splendid Phoenix King were both seated in the inner section of the Hall, at another table.

Master Merchant failed to see Orchid Merchant, and he therefore inquired: "How is it I don't see brother Orchid," whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Plum. "He says," Mrs. Plum stood up and rejoined with a smile, "that as your master didn't go just then to ask him round, he has no wish to come!" and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: "How obstinate and perverse his natural disposition is!" But Master Merchant lost no time in sending Ring Merchant, together with two matrons, to fetch Orchid Merchant; and, on his arrival, Grandma Merchant bade him sit by her side, and, taking a handful of fruits, she gave them to him to eat; after which the party chatted, laughed, and enjoyed themselves. Ordinarily, there was no one but Precious Jade to say much or talk at any length, but on this day, with Master Merchant present, his remarks were limited to assents. And as to the rest, Fragrant-cloud had, though a young girl, and of delicate physique, nevertheless ever been very fond of talking and discussing; but, on this instance, Master Merchant was at the feast, so that she also held her tongue and restrained her words. As for Mascara Jade she was naturally peevish and listless, and not very much inclined to indulge in conversation; while Precious Hairpin, who had never been reckless in her words or frivolous in her deportment, likewise behaved on the present occasion in her usual dignified manner. Hence it was that this banquet, although a family party, given for the sake of relaxation, assumed contrariwise an appearance of restraint, and as Grandma Merchant was herself too well aware that it was to be ascribed to the presence of Master Merchant alone, she therefore, after the wine had gone round three times, forthwith hurried off Master Merchant to retire to rest.--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 07:28, 9 June 2021 (UTC)

=Sū Xiāo 苏潇=
贾政亦知贾
母之意，撵了他去，好让他姊妹兄弟们取乐，因陪笑道：“今日原听见老太太这里
大设春灯雅谜，故也备了彩礼酒席，特来入会，何疼孙子孙女之心，便不略赐与
儿子半点？”贾母笑道：“你在这里，他们都不敢说笑，没的倒叫我闷的慌。你要
猜谜，我便说一个你猜，猜不着是要罚的。”贾政忙笑道：“自然受罚。若猜着了，
也要领赏呢！”贾母道：“这个自然。”便念道：

猴子身轻站树梢——打一果名。
贾政巳知是荔枝，故意乱猜，罚了许多东西，然后方猜着了，也得了贾母的东西，
然后也念一个灯谜与贾母猜，念道：

身自端方，体自坚硬。虽不能言，有言必应——打一用物。

说毕，便悄悄的说与宝玉，宝玉会意，又悄悄的告诉了贾母。贾母想了一想，果
然不差，便说：“是砚台。”贾政笑道：“到底是老太太，一猜就是。”回头说：“快把
贺彩献上来。”地下妇女答应一声，大盘小盒，一齐捧上。贾母逐件看去，都是灯
节下所用所玩新巧之物，心中甚喜，遂命：“给你老爷斟酒。”宝玉执壶，迎春送
酒。贾母因说：“你瞧瞧那屏上，都是他姐儿们做的，再猜一猜我听。”贾政答应，
起身走至屏前，只见第一个是元妃的，写着道：

能使妖魔胆尽摧，身如束帛气如雷。一声震得人方恐，回首相看已化
灰——打一物。
贾政道：“这是爆竹呢。”宝玉答道：“是。”

Master Merchant knew Grandma Merchant's intention as well. Getting him out, so that his sisters and brothers could have fun. So he smiled and said, "Today I heard that mom set the spring lantern riddles, so I also prepared wonderful gifts and banquets for joining the party. Why don't you give your son a little of your love for your grandchildren?" Grandma Merchant laughed, "they don't dare to talk and laugh if you stay here. That silence makes me bored. Since you want to guess a riddle, I'll just tell you one to guess. If you don't guess out, you'll be punished." Master Merchant smiled at once, "Of course. But if I guess out, don't forget to give me the reward!" "That's for sure." Then Grandma Merchant read,

The light monkey stands on the treetop. The answer was a fruit name.
Master Merchant already knew that it was lichee, but he gave several wrong answers on purpose, with many things being fined. Then he guessed out and got the reward from Grandma Merchant. After that, he also read a lantern riddle to Grandma Merchant to guess, that is, his body is square and hard; he couldn’t speak but would answer all your questions. The answer is an article for use.
After saying this, he whispered to Precious Jade, who understood and whispered to Grandma Merchant. After thinking for a while, Grandma Merchant realized that it was surely right, so she replied, “It is an inkstone.” Master Merchant smiled, “Worthy of being our highly respected lady! You get the right answer at once.” He looked back and said, “Present my prepared gifts.”

--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 04:23, 9 June 2021 (UTC)

=Tāng Huì 汤惠=
贾政又看迎春的，道：
天运人功理不穷，有功无运也难逢。因何镇日纷纷乱？只为阴阳数不同——打一用物。

贾政道：“是算盘。”迎春笑道：“是。”又往下看，是探春的，道：
阶下儿童仰面时，清明妆点最堪宜。游丝一断浑无力，莫向东风怨别
离——打一物。

贾政道：“好像风筝。”探春道：“是。”贾政再往下看，是黛玉的，道：
朝罢谁携两袖烟？琴边衾里两无缘。晓筹不用鸡人报，五夜无烦侍
女添。焦首朝朝还幕暮，煎心日日复年年。光阴荏苒须当惜，风雨阴睛任
变迁——打一物。
贾政道：“这个莫非是更香？”宝玉代言道：“是。”

贾政又看道：
南面而坐，北面而朝，“象忧亦忧，象喜亦喜”——打一物。
贾政道：“好，好！如猜镜子，妙极！”宝玉笑回道：“是。”

贾政道：“这一个却无名
字，是谁做的？”贾母道：“这个大约是宝玉做的。”贾政就不言语。往下再看宝
钗的，道是：
有眼无珠腹内空，荷花出水喜相逢。梧桐叶落分离别，恩爱夫妻不到
冬——打一物。
贾政看完，心内白忖道：“此物还倒有限。只是小小年纪，作此等言语，更觉不
祥，看来皆非福寿之辈。”想到此处，愈觉烦闷，大有悲戚之状，只是垂头沉思。

Master Merchant move on to read Spring Pleasure’s:

No end to the labour of men, to heaven’s decrees,
But labour unblessed by Heaven will fruitless be.
What causes this constant, frenzied activity?
The uncertainty of mortal destiny.

“An abacus?” Spring Pleasure agreed with a smile. Master Merchant read the next riddle:

The children by the steps look up:
Spring surely has no fitter decoration.
But when the silk cord breaks it drifts away,
Blame not the east wind for this separation.

“That sounds like a kite,” said Master Merchant. When Seeking Spring had confirmed this he looked at another riddle by Mascara Jade:

Who leaves the levee with smoke-scented sleeves?
Not destined by the lute or quilt to sit,
It needs no watchman to announce the dawn,
No maid at the fifth watch to replenish it.
Burned with anxiety both day and night,
Consumed with anguish as time slips away,
As life speeds past we learn to hold it dear—
What cares it whether foul or fair the day?

“Is it incense?” Precious Jade said for Mascara Jade: “Yes.”

Master Merchant thought to himself: “The object itself isn’t ill-omened, but what inauspicious lines for a young girl to write. It doesn’t look as if any of these girls will have good fortune or long life.” He lowered his head in thought and sunk in gloom.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 06:02, 6 June 2021 (UTC)

Master Merchant move on to read Spring Pleasure's riddle:

No end to the labor of men, to heaven’s decrees,
But labor unblessed by Heaven will fruitless be.
What causes this constant, frenzied activity?
The uncertainty of mortal destiny.

"An abacus?" Spring Pleasure agreed with a smile. Then, Master Merchant read the next riddle:

The children by the steps look up:
Spring surely has no fitter decoration.
But when the silk cord breaks it drifts away,
Blame not the east wind for this separation.

"That sounds like a kite," said Master Merchant.Seeking Spring confirmed his answer, and so he moved on to look at another riddle by Mascara Jade:

Who leaves the levee with smoke-scented sleeves?
Not destined by the lute or quilt to sit,
It needs no watchman to announce the dawn,
No maid at the fifth watch to replenish it.
Burned with anxiety both day and night,
Consumed with anguish as time slips away,
As life speeds past we learn to hold it dear—
What cares it whether foul or fair the day?

"Is it incense?" "Yes,"said Precious Jade.

The emperor faces the north while ministers face the south
Looks like gloom and it is gloom
Looks like happiness and it is happiness

"Good! It's a mirror!" Precious Jade smiled and said "Yes".

Master Merchant said," There is one without a name on it. Who made it?" Grandma Merchant said, " Maybe it was made by Precious Jade." Master Jade said no words and moved on to read the one made by Precious Hairpin.

Having read this, Master Merchant thought to himself: “The object itself isn’t ill-omened, but what inauspicious lines for a young girl to write! It doesn’t look as if any of these girls will have good fortune or long life.” He lowered his head in thought and sunk in gloom.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 06:49, 9 June 2021 (UTC)

=Táng Qǐzhōu 唐启洲 Mr.=
贾母见贾政如此光景，想到他身体劳乏，又恐拘束了他众姊妹，不得高兴玩耍，即对贾政道：“你竟不必在这里了，歇着去罢。让我们再坐一会子，也就散了。”贾政一闻此言，连忙答应几个“是”，又勉强劝了贾母一回酒，方才退出去了。回至房中，只是思索，翻来复去，甚觉凄惋。

这里贾母见贾政去了，便道：“你们乐一乐罢。”一语未了，只见宝玉跑至围屏灯前，指手画脚，信口批评，这个这一句不好，那个破的不恰当，如同开了锁的猴子一般。黛玉道：“还像方才大家坐着，说说笑笑，岂不斯文些儿。”凤姐自里间屋里出来，插口说道：“你这个人，就该老爷每日合你寸步不离方好。刚才我忘了，为什么不当着老爷，撺掇叫你作诗谜儿。这会子不怕你不出汗呢！”说的宝玉急了，扯着凤姐儿厮缠了一会。

贾母又与李宫裁并众姊妹等说笑了一会子，也觉有些困倦，听了听，已交四鼓了，因命将食物撤去，赏与众人，随起身道：“我们安歇罢。明日还是节呢，该当早起。明日晚上再玩罢。”于是众人散去。且听下回分解。

Grandma Merchant assumed that he must be tired, and felt his presence was spoiling the young people’s enjoyment. “There’s no need for you to stay here. You can go and rest,” she said. “We will sit up a little bit and go to rest, too.”Master Merchant responded several "yes" and forced himself to toast his mother once more before he withdrew. Back in his own apartment, he thought about it over and over again in his mind with a grievous sense.

As soon as he had gone, Grandma Merchant urged her grand-children, “Now relax and have some fun!”Precious Jade had already run up to the screen-lantern and was prancing about like a monkey freed from its chain, pulling different riddles to pieces.“Why not sit down as you were before, and chat with us in a more civilized way?”said Mascara Jade. Splendid Phoenix, who had joined them now, interrupted, “you ought to have the master keeping you by his side all the time. I forgot to suggest that you should make up some riddles in his presence. If I had, I’m sure you will be in a cold sweat!”Precious Jade made a frantic grab at her and a scrimmage ensued.

After chatting for a while with the girls, Grandma Merchant began to feel tired, and hearing the fourth watch sounded she asked the food to be cleared away, and told the servants they could have the left.“Let’s rest now,” she said, rising to her feet. “Tomorrow is still a holiday, and we have to get up early. We can enjoy ourselves again in the evening.”To know what happened the next day, read the following chapter.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 05:28, 6 June 2021 (UTC)

Grandma Merchant assumed that he must be tired, and felt his presence was spoiling the young people’s enjoyment. “There’s no need for you to stay here. You can go and have a rest,” she said. “We will sit up a little bit and leave, too.”Master Merchant responded several "yes" and forced himself to toast his mother once more before he withdrew. Back in his own apartment, he thought about it over and over again in his mind with a grievous sense.

As soon as he had gone, Grandma Merchant urged her grand-children, “Now relax and have some fun!”A word not finished, Precious Jade had already run up to the front of screen-lantern , pointing out his fingers and carelessly criticizing that this or that word was not good. He was prancing about like a monkey freed from its chain.“Why not sit down as you were before, and chat with us in a more civilized way?”said Mascara Jade. Splendid Phoenix, who had joined them now, interrupted, “you ought to have the master keeping you by his side all the time. I forgot to suggest that you should make up some riddles in his presence. If I had, I’m sure you will be in a cold sweat!”Precious Jade made a frantic grab at her and a scrimmage ensued.

After chatting for a while with the girls, Grandma Merchant began to feel tired, and hearing the fourth watch sounded she asked the food to be cleared away, and told the servants they could have the left.“Let’s rest now,” she said, rising to her feet. “Tomorrow is still a holiday, and we have to get up early. We can enjoy ourselves again in the evening.”To know what happened the next day, read the following chapter.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:47, 9 June 2021 (UTC)

=Téng Bìxiá 滕璧霞=
◎第二十三回西厢记妙词通戏语牡丹亭艳曲警芳心

话说贾元春自那日幸大观园回宫去后，便命将那日所有的题咏，命探春依
次抄录妥协，自己编次，叙其优劣，又令在大观园勒石，为千古风流雅事。因此
贾政命人各处选拔精工名匠，大观园磨石镌字，贾珍率领贾蓉、贾萍等监工。因
贾蔷又管理着文官等十二个女戏子并行头等事，不得空闲，因此只将贾菖、贾菱
唤来监工。一日烫蜡钉朱，动起手来。这也不在话下。

且说那个玉皇庙并达摩庵两处，一班的十二个小沙弥并十二个小道士，如
今挪出大观园来，贾政正想发到各庙去分住。不想后街上住的贾芹之母周氏，
正打算到贾政这边谋一个大小事件与儿子管管，也好弄些银钱使用，可巧听见
这边有事，便坐车来求凤姐。凤姐因见他素日不大拿班做势的，便依允了。想
了几句话，便回王夫人说：“这些小和尚道士，万不可打发到别处去，一时娘娘出
来，就要应承的。倘或散了，若再用时，可又费事。依我的主意，不如将他们都
送到家庙铁槛寺去，月间不过派一个人拿几两银子去买柴米就是了。说声用，
走去叫一声就来，一点儿不费事。”王夫人听了，便商之于贾政。贾政听了笑道：
“倒是提醒了我。就是这样。”即时唤贾琏。

After First Spring Merchant’s return to the Palace from her visit to Grand View Garden， she gave instructions that Seeking- Spring should copy out all the poems written that day for her to arrange in order of merit, because she wished them to be inscribed on the tablets in the Garden as a lasting memorial to that splendid occasion.Treasure Merchant accordingly ordered skilled artisans to be found to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Merchant.As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Jia Chang and Jia Ling to supervise the work instead.In due course wax was melted over the tablets and the poems were engraved in vermilion. But no more of this.The twenty-four young Buddhists and Taoists from the Dharma Convent and Jade Emperor’s Temple in the Garden had now been moved out, and Master Merchant had been thinking of sending them to various temples elsewhere.Word of this reached Talent Merchant`s mother Lady Zhou who lived in the street behind just as she had decided to look in Master Merchant’s house for some remunerative job, whether big or small, for her son. So she came by sedan-chair to enlist Xifeng’s help.As this woman was normally unassuming, Splendid Phoenix King agreed. Having thought out the right approach she told Lady King: “We mustn’t send away the little Buddhists and Taoists, because they’ll be needed next time Her Highness comes, and it would be hard to get them together again if once they’d been dispersed.My idea is to move them all to our family’s Iron Threshold Temple. Then all we need do is to send someone with a few taels of silver every month for their firewood and rice, and they can be fetched back if needed without any trouble.”Lady King passed on this proposal to her husband. “Quite right,” he agreed. “I’m glad you reminded me.” He sent for Lian Merchant.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:01, 9 June 2021 (UTC)

=Wáng Chǔyí 王楚仪=
贾琏正同凤姐吃饭，一闻呼唤，放下饭便走。凤姐一把拉住，笑道：“你且
站住，听我说话，若是别的事，我不管；若是为小和尚小道士们的那事，好歹依我
这么着。”如此这般，教了一套话。贾琏笑道：“我不知道，你有本事你说去。”凤
姐听说，把头一梗，把筷子一放，腮上带笑不笑的瞅着贾琏道：“你当真，还是玩
话儿？”贾琏笑道：“西廊下五嫂子的儿子芸儿来求了我两三遭，要件事管管，我
应了，叫他等着。好容易出来这件事，你又夺了去。”凤姐儿笑道：“你放心，园子
东北角上，娘娘说了，还叫多多的种松柏树，楼底下还叫种些花草，等这件事出
来，我包管叫芸儿管这工程。”贾琏道：“果然这样，也倒罢了。只是昨儿晚上，我
不过是要改个样儿，你就扭手扭脚的。”凤姐听了，“嗤”的一声笑了，向贾琏啐了
一口，低下头便吃饭。

贾琏一径笑着去了。走到前面，见了贾政，果然为小和尚的事，贾琏便依
了凤姐的主意，说道：“看来芹儿倒大大的出息了，这件事，竟交与他去管办，横
竖照在里头的规侧，每月叫芹儿支领就是了。”贾政原不大理论这些小事，听贾
琏如此说，便依允了。贾琏回至房中告诉凤姐，凤姐即命人去告诉周氏，贾芹便
来见贾琏夫妻，感谢不尽。

Romance Merchant and Sister Phoenix were having their meal together. When the summons arrived, he put down his rice bowl at once and started to go out. “Wait a minute and listen to me!” She caught hold of his arm. “If this is some other business, that’s not my affair; but if it’s about those little novices, you must handle it in my way.” She told him then exactly what to say. Romance Merchant shook his head, laughing. “This is none of my business. If you’re so clever, go and ask uncle yourself.” Sister Phoenix threw back her head and laid down her chopsticks, staring at Romance Merchant with an icy smile. “Do you mean that, or are you joking?” He smiled, “Rue, the son of Fifth Sister-in-Law who lives in West Lane, has come several times begging me to find him a job, and I promised him I would if he would wait. Now here’s a job at last, but as usual you want to snatch it away.” Sister Phoenix smiled and said, “Don’t worry. Her Highness wants more pines and cypresses planted in the northeast corner of the Garden, as well as more flowers at the foot of the tower. When that job comes up, I promise to let Rue have it.” “All right then,” he chuckled. “But why were you so uncooperative last night when all I wanted was to try something different?” Sister Phoenix snorted with laughter and spat at him in mock disgust, then lowered her head and went on with her meal. Grinning broadly, Romance Merchant left. When he found that his uncle had indeed sent for him about the novices, taking his cue from his wife he suggested: “Celery seems to be shaping well. We might entrust this to him. He can just draw the allowance every month in the usual way.” Since Master Merchant never took much interest in such matters, he made no objection. As soon as Romance Merchant went back to tell Sister Phoenix, she sent a maid to notify Celery’s mother, and the young man came to thank them both profusely.
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 04:42, 9 June 2021 (UTC)

Romance Merchant and Sister Phoenix were having their meal together. As soon as the summons arrived, he put down his rice bowl at once and started to go out. “Wait a minute and listen to me!” She caught hold of his arm. “If this is some other business, that’s not my affair; but if it’s about those little novices, you’d better handle it in my way.” She told him then exactly how to do it. Romance Merchant shook his head, laughing, “This is none of my business. If you’re so clever, go and ask uncle yourself.” Sister Phoenix threw back her head and laid down her chopsticks, staring at Romance Merchant with an icy smile. “Do you mean that, or are you joking?” He smiled, “Rue, the son of Fifth Sister-in-Law who lives in West Lane, has come several times begging me to find a job for him, and I promised him I would if he would wait. Now here’s a job at last, but as usual you want to snatch it away.” Sister Phoenix smiled and said, “Don’t worry. Her Highness wants more pines and cypresses planted in the northeast corner of the Garden, as well as more flowers at the foot of the tower. When that job comes up, I promise to let Rue have it.” “All right then,” he chuckled. “But why were you so uncooperative last night when all I wanted was to try something different?” Sister Phoenix snorted with laughter and spat at him in mock disgust, then lowered her head and went on with her meal. Grinning broadly, Romance Merchant left. When he found that his uncle had indeed sent for him about the novices, taking his cue from his wife he suggested: “Celery seems to be shaping well. We might entrust this to him. He can just draw the allowance every month in the usual way.” Since Master Merchant never took much interest in such matters, he made no objection. As soon as Romance Merchant went back to tell Sister Phoenix, she sent a maid to notify Celery’s mother, and the young man came to thank them both profusely. —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 06:44, 9 June 2021 (UTC)

=Wáng Jìngyí 王静怡=
凤姐又做情先支三个月的费用，叫他写了领字，贾琏
批票画了押，登时发了对牌出去，银库上按数发出三个月的供给来，白花花三百
两。贾芹随手拈了一块与掌平的人，叫他们“吃了茶罢”。于是命小厮拿了回
家，与母亲商议。登时，又雇几辆车子，至荣国府角门前，唤出二十四个人来，坐
上车子，一径往城外铁槛寺去了。当下无话。

如今且说那贾元春在宫中编《大观园题咏》之后，忽想起那园中的景致，自
从幸过之后，贾政必定敬谨封锁，不叫人进去，岂不辜负此园？况家中现有几个
能诗会赋的姊妹们，何不命他们进去居住，也不使佳人落魄，花柳无颜。却又想
宝玉自幼在姊妹丛中长大，不比别的兄弟，若不命他进去，又怕冷落了他，恐贾
母王夫人心上不喜，须得也命他进去居住方妥。命太监夏忠到荣府下一道谕：
“命宝钗等在园中居住，不可封锢，命宝玉也随进去读书。”

贾政、王夫人接了谕命，夏忠去后，便回明贾母，遣人进去各处收拾打扫，安
设帘幔床帐。别人听了，还犹自可，惟宝玉喜之不胜。正和贾母盘算，要这个，
要那个，忽见丫鬟来说：“老爷叫宝玉。”宝玉呆了半晌，登时扫了兴，脸上转了
色，便拉着贾母，扭的扭股儿糖似的，死也不敢去。

With a show of conferring further favors, Splendid Phoenix King‘begged’ Romance Merchant to allow Celery Merchant three months’ payment in advance. A receipt was written for this amount and Romance Merchant’s seal affixed to it, and there and then Celery Merchant was issued with a tally and sent to the counting-house to collect the money.
When the three hundred taels of shining silver had been weighed and counted and handed over, Celery Merchant picked up a piece at random and tossed it to the cashiers to ‘buy themselves a cup of tea with’. He had a boy to carry the money back home for him, and after taking counsel with his mother he hired a stout little donkey for himself to ride on and four or five covered mule-carts for the nuns, an~ conducting the carts round to the side gate of the Rongguo Mansion, he called forth the twenty-four little nuns and packed them all inside. Then off they set, with Celery Merchant on his donkey at the head of the procession, to the Temple of the Iron Threshold outside the city. And there we leave them.

First Spring’s editing of the Prospect Garden poems had given her a vivid recollection of the garden’s beauties. She was sure that her father, out of a zealous reverence for the Emperor and herself, would have kept it all locked and closed since her visit and would have allowed no one else to enter, and she felt this to be a waste and a shame—the more so when her family contained so many poetical young ladies who would have found inspiration in its scenery—not to mention the benefit their presence would have bestowed on the garden itself: for, as is well-known,

When lovely woman smiles not,
All Nature’s charms ate dead.

Assuredly, the girls must be allowed into the garden. It should become their home. And if the girls, why not Precious Jade? He had grown up in their midst. He was different from other boys. If he were not allowed into the garden as well, he would consider himself left out in the cold, and his distress would cause Lady Wang and Grandma Merchant to feel unhappy too. Unquestionably she should ask for him to be admitted along with the girls. Having reached this decision, she summoned the eunuch Faithfulness Summer and ordered him to convey the following Edict to Rongguo Mansion:

Precious Hairpin and the other young ladies of the household ate to reside in the Garden. The Garden is not to be kept closed. Precious Jade is to accompany the young ladies into the Garden and to continue his studies there.

The Edict was received by Master Merchant and Lady Wang. When Faithfulness Summer had gone, they reported it at once to Grandma Merchant and sent servants into the garden to sweep and prepare its buildings and rehang the blinds, portieres and bed-curtains in readiness for occupation.
No one was mote excited by the prospect of this move than Precious Jade. He was discussing it animatedly with Grandma Merchant (it was a discussion in which the words ‘I want’ recurred rather frequently) when suddenly a maid came in and announced that he was wanted by his father. At this bolt from the blue his countenance fell and all his animation drained away. Clinging to his grandmother with the gluey persistence of a toffee twist, he made it abundantly plain to her that he had no wish to obey.
--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:02, 8 June 2021 (UTC)

=Wáng Qìnyú 王沁瑜=
贾母只得安慰他道：“好宝
贝，你只管去，有我呢，他不敢委屈了你。况你做了这篇好文章，想是娘娘叫你
进园去住，他吩咐你几句话，不过是怕你在里头淘气。他说什么，你只好生答应
着就是了。”一面安慰，一面唤了两个老嬷嬷来，吩咐：“好生带了宝玉去，别叫他
老子唬着他。”老姥嬷答应了。

宝玉只得前去，一步挪不了三寸，蹭到这边来。可巧贾政在王夫人房中商
议事情，金钏儿、彩云、彩凤、绣鸾、绣凤等众丫鬟都廊檐下站着呢，一见宝玉来，
都抿着嘴儿笑他。金钏一把拉着宝玉，悄悄的说道：“我这嘴上是才擦的香渍
的胭脂，你这会子可吃不吃了？”彩云一把推开金钏，笑道：“人家心里正不自在，
你还奚落他。趁这会子喜欢，快进去罢。”宝玉只得挨门进去。原来贾政和王
夫人都在里间呢。赵姨娘打起帘子，宝玉挨身而入，只见贾政和王夫人对坐在
炕上说话，地下一溜椅子，迎春、探春、惜春、贾环四人都坐在那里。一见他进
来，惟有探春、惜春和贾环站了起来。

贾政一举目见宝玉站在跟前，神彩飘逸，秀色夺人；又看见贾环人物委琐，
举止粗糙；忽又想起贾珠来。再看看王夫人只有这一个亲生的儿子，素爱如珍；
自己的胡须将已苍白，因这几件上，把平日嫌恶宝玉之心，不觉减了八九分。

Grandma Merchant comforted him, “Go, my sweeter. I won’t let him be hard on you. Besides, it’s because you wrote so well that the empress has said you should move into the garden. And your father only warns you to behave yourself when you are in the garden. Just say “yes” to whatever he tells you.” When comforting him, Grandma Merchant called two old nurses and ordered them, “Take Precious Jade there and don’t let his father frighten him.” The nurses complied.
Precious Jade had to left, with dragging steps. It so happened that Master Merchant was discussing some business in Lady King’s room, while her maids Golden Bracelet, Silver Bracelet, Sun Cloud, Embroidered Bluebird, Embroidered Phoenix were standing outside under the eaves. When they saw Precious Jade, they smiled knowingly. Golden Bracelet caught Precious Jade and whispered, “I’ve just put some rouge o my lips. Do you want to taste it now?” Sun Cloud pushed her away and laughed, “Don’t tease him when he is felling low. Go in quickly, while the master is in a good mood.” Precious Jade had to sidle in and Master Merchant and Lady King were in the inner room. Concubine Zhao raised the portiere. Precious Jade entered with a bow. Master Merchant and Lady King was talking on the bed, sating facing each other, while Spring Pleasure, Seeking Spring, Cherishing Spring, Ring Merchant sat on a row of chair below. Seeing his entering, only Seeking Spring, Cherishing Spring and King Merchant got up.
Master Merchant glanced up and saw Precious Jade standing before him. The boy’s striking charm and air of distinction contrasted with King Merchant vulgar, common appearance that he was reminded of his dead son, Bead Merchant. He glanced at Lady King who had only this one son left and doted on him. As for himself, his bread was already turning gray. Because of these, his abominate to Precious Jade reduced.

Grandma Merchant comforted him, “Go, my sweetheart. I won’t let him punish you. Besides, it’s because you wrote so well that the empress has said you should move into the garden. And your father only warns you to behave yourself when you are in the garden. Just say “yes” to whatever he tells you.” When comforting him, Grandma Merchant called two old nurses and ordered them, “Take Precious Jade there and don’t let his father frighten him.” The nurses complied.
Precious Jade had to left, with dragging steps. It so happened that Master Merchant was discussing some business in Lady King’s room, while her maids Golden Bracelet, Silver Bracelet, Sun Cloud, Embroidered Bluebird, Embroidered Phoenix were standing outside under the eaves. When they saw Precious Jade, they smiled knowingly. Golden Bracelet caught Precious Jade and whispered, “I’ve just put some rouge o my lips. Do you want to taste it now?” Sun Cloud pushed her away and laughed, “Don’t tease him when he is felling low. Go in quickly, while the master is in a good mood.” Precious Jade had to sidle in and Master Merchant and Lady King were in the inner room. Concubine Zhao raised the portiere. Precious Jade entered with a bow. Master Merchant and Lady King was talking on the bed, sating facing each other, while Spring Pleasure, Seeking Spring, Cherishing Spring, Ring Merchant sat on a row of chair below. Seeing his entering, only Seeking Spring, Cherishing Spring and King Merchant got up.
Master Merchant glanced up and saw Precious Jade standing before him. The boy’s striking charm and air of distinction contrasted with King Merchant vulgar, common appearance that he was reminded of his dead son, Bead Merchant. He glanced at Lady King who had only this one son left and doted on him. As for himself, his bread was already turning gray. Because of these, his abominate to Precious Jade reduced.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:10, 9 June 2021 (UTC)

=Wáng Zǐhán 王子涵=
半
晌说道：“娘娘吩咐你说，日日在外游嬉，渐次疏懒，如今叫禁管你同姐妹们在园
里读书，你可好生用心学习；再不守分安常，你可仔细！”宝玉连连答应了几个
“是”。王夫人便拉他在身边坐下。他姊弟三人依旧坐下，王夫人摸索着宝玉
的脖项说道：“前儿的丸药都吃完了没有？”宝玉答应道：“还有一丸。”王夫人
说：“明早再取十丸来，天天临睡时候，叫袭人伏侍你吃了再睡。”宝玉道：“自从
太太吩咐了，袭人天天临睡打发我吃的。”贾政便问道：“谁叫‘袭人’？”王夫人
道：“是个丫头。”贾政道：“丫头不拘叫个什么罢了，是谁起这样刁钻的名宇？”
王夫人见贾政不自在了，便替宝玉掩饰道：“是老太太起的。”贾政道：“老太太
如何晓得这样的话？一定是宝玉。”宝玉见瞒不过，只得起身回道：“因素日读
诗，曾记古人有句诗云：‘花气袭人知昼暖。’因这丫头姓‘花’，便随意起的。”王
夫人忙向宝玉说道：“你回去改了罢。老爷也不用为这小事生气。”贾政道：“其
实也无妨碍，不用改。只可见宝玉不务正，专在这些浓词艳诗上做工夫。”说毕，
断喝了一声：“作孽的畜生，还不出去！”王夫人也忙道：“去罢，去罢！怕老太太
等吃饭呢。”

After a pause he said: “Her Highness has ordered you to study and practise calligraphy with the girls in the Garden, instead of fooling around outside and neglecting your studies. Mind that you apply yourself there to your lessons. If you go on misbehaving, watch out!”

“Yes, sir,” agreed Precious Jade hastily. Then his mother drew him over to sit beside her while Jia Huan and the other two sat down again.

Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?”

“All but one.”

“You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”

“Ever since you ordered it, madam, Aroma has been giving me one every evening.”

“Who is Aroma?” demanded Master Merchant.

“One of the maids,” his wife told him.

“A maid can be called anything, I suppose. But who thought up such a suggestive name for her?”

To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.”

“Such a name would never occur to the old lady. This must have been Precious Jade’s doing.”

Since there was no hiding the truth Precious Jade rose to confess: “I remembered that line of an old poem: When the fragrance of flowers assails men we know the day is warm. As this maid’s surname is Hua (Flower), I called her Aroma.”

“You must change it when you go back,” put in Lady Wang quickly. Then she turned to her husband. “Don’t be angry, sir, over such a little thing.”

“It doesn’t really matter, there’s no need to change it. But this shows that instead of studying properly Precious Jade gives all his time to romantic trash.”

Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?”

“Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper.
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:02, 10 June 2021 (UTC)

After a pause he said: “Her Highness has ordered you to study and practise calligraphy with the girls in the Garden, instead of fooling around outside and neglecting your studies. Mind that you apply yourself there to your lessons. If you go on misbehaving, watch out!”
“Yes, sir,” agreed Precious Jade hastily. Then his mother drew him over to sit beside her while the other two sat down again. Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?” “All but one.” “You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”
“Ever since you ordered it, madam, Aroma has been giving me one every evening.” “Who is Aroma?” demanded Master Merchant. “One of the maids,” his wife told him. “A maid can be called anything, I suppose. But who thought up such a suggestive name for her?” To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.” “Such a name would never occur to the old lady. This must have been Precious Jade’s doing.” Since there was no hiding the truth Precious Jade rose to confess: “I remembered that line of an old poem: When the fragrance of flowers assails men we know the day is warm. As this maid’s surname is Hua (Flower), I called her Aroma.” “You must change it when you go back,” put in Lady Wang quickly. Then she turned to her husband. “Don’t be angry over such a little thing.” “It doesn’t really matter, there’s no need to change it. But this shows that instead of studying properly Precious Jade gives all his time to romantic trash.” Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?” “Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper. ”--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 03:14, 14 June 2021 (UTC)

=Wǔ Sīyí 伍斯仪=
宝玉答应了，慢慢的退出去；向金钏儿笑着伸伸舌头，带着两个老嬷嬷，一
溜烟去了。刚至穿堂门前，只见袭人倚门而立，见宝玉平安回来，堆下笑来，问
道：“叫你做什么？”宝玉告诉：“没有甚么，不过怕我进园淘气，吩咐吩咐。”一面
说，一面回至贾母跟前，回明原委。只见黛玉正在那里，宝玉便问他“你住在那
一处好？”黛玉正盘算这事，忽见宝玉一问，便笑道：“我心里想着潇湘馆好，我爱
那几竿竹子，隐着一道曲栏，比别处幽静。”宝玉听了，拍手笑道：“正合我的主
意！我也要叫你那里去住，我就住怡红院。咱们两个又近，又都清幽。”

二人正计议，就有贾政遣人来回贾母，说：“二月二十二日是好日子，哥儿
姐儿们好搬进去的。这几日内遣人进去分派收拾。”薛宝钗住了蘅芜院，林黛
玉住了潇湘馆，贾迎春住了缀锦楼，探春住了秋掩书斋，惜春住蓼风轩，李纨住
丁稻香村，宝玉住怡红院。每一处添两个老嬷嬷，四个丫头；除各人奶娘亲随丫
头外，另有专管收拾打扫的。至二十二日，一齐进去，登时园内花招绣带，柳拂
香风，不似前番那等寂寞了。

闲言少叙。且说宝玉自进园来，心满意足，再无别项可生贪求之心，每日
只和姊妹丫鬟们一处，或读书，或写字，或弹琴下棋，作画吟诗，以至描鸾刺凤，
斗草簪花，低吟情唱，拆字猜枚，无所不至，倒也十分快意。

Precious Jade answered and slowly withdrew. He grinned and stuck out his tongue at Golden and ran away swiftly with the two nurses. While He just arrived at the entrance hail, he found Aroma leaning in the doorway. Her face lit up when she saw that Precious Jade was back safely, and she asked, “What did your father tell you to do?” “Nothing much. Just to warn me not to go to the Garden and behave myself.” He answered. Having by now reached the Lady Dowager’s room he told her what had happened. Then he saw Mascara Jade was here and asked, “ in which part of the Garden would you like to live?” Mascara Jade had been thinking this over and she smiled and answered: “I’d like to live in Bamboo Lodge. I love those bamboos half hiding the winding balustrade, and the place is quieter than anywhere else.” “Just what I thought!” Precious Jade clapped his hands and laughed. “That’s where I want you to live. I am in Happy Red Court, we are close and we can enjoy the quietness.”
At this point Master Merchant sent a servant to report to the Lady Dowager that the twenty-second of the second month would be an auspicious day for the move into the Garden, and the young people’s quarters would be ready by then. Precious Hairpin Marshgrass lived in Asarum Garden, Mascara Jade Bamboo Lodge, Spring Pleasure Merchant Variegated Splendour of tower, Seeking Spring Merchant the Studio of Autumn Freshness, Spring Cherish Merchant Smartweed Breeze Cot, Silk Plum Paddy-Sweet Cottage, and Precious Jade Happy Red Court. Two old nurses and four maids were assigned to each apartment in addition to the occupant’s nanny and own attendants, and there were other servants whose sole duty was cleaning and sweeping. On the twenty-second they all moved in and at once the Garden gay with flowers and willows ruffled by a fragrant breeze from embroidered sashes lost its former air of desolation.
But no need to describe this in detail. Precious Jade found life in the Garden all he could wish. He asked nothing better than to spend every day with his sisters, cousins and maids, reading, writing, strumming the lute, playing chess, painting, chanting poems, watching the girls embroider their phoenix patterns, enjoying the flowers, softly singing, guessing riddles or playing the guess-fingers game. He had a carefree life here.”

=Wú Xīnxīn 吴欣欣=
他曾有几首四时即
事诗，虽不算好，却是真情真景。
“春夜即事”云：
霞绡云幄任铺陈，隔巷蛙声听未真。枕上轻寒窗外雨，眼前春色梦中
人。盈盈烛泪因谁泣，点点花愁为我嗔。自是小鬟娇懒惯，拥衾不耐笑言
频。

“夏夜即事”云：
倦绣佳人幽梦长，金笼鹦鹉唤茶汤。窗明麝月开宫镜，室霭檀云品御
香。琥珀杯倾荷露滑，玻璃槛纳柳风凉。水亭处处齐纨动，帘卷朱楼罢晓
妆。

“秋夜即事”云：
绛芸轩里绝喧哗，桂魄流光浸茜纱。苔锁石纹容睡鹤，井飘桐露湿栖
鸦。抱衾婢至舒金凤，倚槛人归落翠花。静夜不眠因酒渴，沉烟重拨索烹
茶。

“冬夜即事”云：
梅魂竹梦已三更，锦罽鹴衾睡未成。松影一庭惟见鹤，梨花满地不聞
莺。女奴翠袖诗怀冷，公子金貂酒力轻。却喜侍儿知试茗，扫将新雪及时
烹。

不说宝玉闲吟，且说这几首诗，当时有一等势利人，见是荣国府十二三岁
的公子做的，抄录出来，各处称颂；再有等轻薄子弟，爱上那风流妖艳之句，也写
在扇头壁上，不时吟哦赏赞。因此上竟有人来寻诗觅字，倩画求题的。宝玉一
发得意，每日家做这些外务。

谁想静中生动，忽一日，不自在起来，这也不好，那也不好，出来进去，只是
闷闷的。园中那些女孩子，正是混沌世界天真烂熳之时，坐卧不避，嬉笑无心，
那里知宝玉此时的心事？

From his pen emanate four ballads on the times of the four seasons， which， although they could not be looked upon as first-rate， afford anyhow a correct idea of his sentiments， and a true account of the scenery.
the ballad on the spring night runs as follows：

the silken curtains， thin as russet silk， at random are spread out. The croak of frogs from the adjoining lane but faintly strikes the ear. The pillow a slight chill pervades， for rain outside the window falls. The landscape， which now meets the eye， is like that seen in dreams by man. In plenteous streams the candles' tears do drop， but for whom do they weep？ Each particle of grief felt by the flowers is due to anger against me. It's all because the maids have by indulgence indolent been made. The cover over me I'll pull， as I am loth to laugh and talk for long.

This is the description of the aspect of nature on a summer night：

the beauteous girl， weary of needlework， quiet is plunged in a long dream. The parrot in the golden cage doth shout that it is time the tea to brew. The lustrous windows with the musky moon like open palace-mirrors look； The room abounds with fumes of sandalwood and all kinds of imperial scents. From the cups made of amber is poured out the slippery dew from the lotus. The banisters of glass， the cool zephyr enjoy flapped by the willow trees. In the stream-spanning kiosk， the curtains everywhere all at one time do wave. In the vermilion tower the blinds the maidens roll， for they have made the night's toilette.
the landscape of an autumnal evening is thus depicted：

In the interior of the Chiang Yuen house are hushed all clamorous din and noise. The sheen， which from Selene flows， pervades the windows of carnation gauze. The moss-locked， streaked rocks shelter afford to the cranes， plunged in sleep. The dew， blown on the t'ung tree by the well， doth wet the roosting rooks. Wrapped in a quilt， the maid comes the gold phoenix coverlet to spread. The girl， who on the rails did lean， on her return drops the kingfisher flowers！ This quiet night his eyes in sleep he cannot close， as he doth long for wine. The smoke is stifled， and the fire restirred， when tea is ordered to be brewed.

the picture of a winter night is in this strain：

the sleep of the plum trees， the dream of the bamboos the third watch have already reached. Under the embroidered quilt and the kingfisher coverlet one can't sleep for the cold. The shadow of fir trees pervades the court， but cranes are all that meet the eye. Both far and wide the pear blossom covers the ground， but yet the hawk cannot be heard. The wish， verses to write， fostered by the damsel with the GREen sleeves， has waxed cold. The master， with the gold sable pelisse， cannot endure much wine. But yet he doth rejoice that his attendant knows the way to brew the tea. The newly-fallen snow is swept what time for tea the water must be boiled.

But putting aside Precious Jade Merchant， as he leisurely was occupied in scanning some verses， we will now allude to all these ballads. There lived， at that time， a class of people， whose wont was to servilely court the influential and wealthy， and who， upon perceiving that the verses were composed by a young lad of the Jung Kuo mansion， of only twelve or thirteen years of age， had copies made， and taking them outside sang their praise far and wide. There were besides another sort of light-headed young men， whose heart was so set upon licentious and seductive lines， that they even inscribed them on fans and screen-walls， and time and again kept on humming them and extolling them. And to the above reasons must therefore be ascribed the fact that persons came in search of stanzas and in quest of manuscripts， to apply for sketches and to beg for poetical compositions， to the increasing satisfaction of Precious Jade Merchant， who day after day， when at home， devoted his time and attention to these extraneous matters. But who would have anticipated that he could ever in his quiet seclusion have become a prey to a spirit of restlessness？ Of a sudden， one day he began to feel discontent， finding fault with this and turning up his nose at that； and going in and coming out he was simply full of ennui. And as all the girls in the garden were just in the prime of youth， and at a time of life when， artless and unaffected， they sat and reclined without regard to retirement， and disported themselves and joked without heed， how could they ever have come to read the secrets which at this time occupied a place in the heart of Precious Jade Merchant？

=Yāo Yáng 么阳=
那宝玉心内不自在，便懒在园内，只在外头鬼混，却又
痴痴的。茗烟见他这样，因想与他开心，左思右想，皆是宝玉玩烦了的，只有这
件，宝玉不曾见过。想毕，便走到书坊内，把那古今小说，并那飞燕、合德、武则
天、杨贵妃的“外传”与那传奇角本，买了许多来引宝玉。宝玉一看，如得珍宝。
茗烟又嘱咐道：“不可拿进园去，若叫人知道了，我就‘吃不了兜着走’呢。”宝玉
那里肯不拿进去？踟蹰再四，单把那文理雅道些的，拣了几套进去，放在床顶
上，无人时方看；那粗俗过露的，都藏于外面书房内。

那日正当三月中浣，早饭后，宝玉携了一套《会真记》，走到沁芳闸桥那边
桃花底下一块石上坐着，展开《会真记》，从头细看。正看到“落红成阵”，只见
一阵风过，树上桃花吹下一大斗来，落得满身满书满地皆是花片。宝玉要抖将
下来，恐怕脚步践踏了，只得兜了那花瓣，来至池边，抖在池内。那花瓣浮在水
面，飘飘荡荡，竟流出沁芳闸去了。

回来只见地下还有许多花瓣，宝玉正踟蹰间，只听背后有人说道：“你在这
里做什么？”宝玉一回头，却是林黛玉来了：肩上担着花锄，花锄上挂着纱囊，手
内拿着花帚。宝玉笑道：“好，好，来把这个花扫起来，撂在那水里去罢。我才撂
了好些在那里呢。”

=Yì Míngxiá 易明霞=
黛玉道：“撂在水里不好，你看这里的水干净，只一流出去，有
人家的地方什么没有？仍旧把花遭塌了。那畸角上我有一个花冢，如今把他扫
了，装在选绢袋里，埋在那里，日久随土化了，岂不干净。”

宝玉听了，喜不自禁，笑道：“待我放下书，帮你来收拾。”黛玉道：“什么
书？”宝玉见问，慌的藏之不迭，便说道：“不过是《中庸》《大学》。”黛玉道：“你又
在我跟前弄鬼。趁早儿给我瞧瞧，好多着呢。”宝玉道：“妹妹，要论你，我是不怕
的。你看了，好歹别告诉别人。真正这是好文章！你若看了，连饭也不想吃
呢。”一面说，一面递了过去。黛玉把花具放下，接书来瞧，从头看去，越看越爱，
不顿饭时，将十六出俱已看完。但觉词句警人，余香满口。虽看完了，却只管出
神，心内还默默记诵。宝玉笑道：“妹妹，你说好不好？”林黛玉笑道：“果然有
趣。”宝玉笑道：“我就是个‘多愁多病的身’，你就是那‘倾国倾城的貌’。”林黛
玉听了，不觉带腮连耳通红，登时竖起两道似蹙非蹙的眉，瞪了两只似睁非睁的
眼，桃腮带怒，薄面含嗔，指着宝玉道：“你这该死的胡说！好好的，把这淫词艳
曲弄了来，说这些混帐话来欺负我。我告诉舅舅、舅母去！”说到“欺负”二字，
就把眼圈儿红了，转身就走。
‘It isn’t a good idea to tip them in the water,’ said Mascara Jade Forest. ‘The water you see here is clean, but farther on beyond the weir, where it flows past people’s houses, there are all sorts of muck and impurity, and in the end they get spoiled just the same. In that corner over there I’ve got a grave for the flowers, and what I’m doing now is sweeping them up and putting them in this silk bag to bury them there, so that they can gradu¬ally turn back into earth. Isn’t that a cleaner way of disposing of them?’
Precious Jade was full of admiration for this idea.
‘Just let me put this book somewhere and I’ll give you a hand.’
‘What book?’ said Mascara Jade Forest.
‘Oh... The Doctrine of the Mean and The Greater Learning,’ he said, hastily concealing it.
‘Don’t try to fool me!’ said Mascara Jade Forest. ‘You would have done much better to let me look at it in the first place, instead of hiding it so guiltily.’
‘In your case, coz, I have nothing to be afraid of;’ said Bao-yu; ‘but if I do let you look, you must promise not to tell anyone. It’s marvellous stuff. Once you start reading it, you’ll even stop wanting to eat!’
He handed the book to her, and Mascara Jade put down her things and looked. The more she read, the more she liked it, and before very long she had read several acts. She felt the power of the words and their lingering fragrance. Long after she had finished reading, when she had laid down the book and was sitting there rapt and silent, the lines continued to ring on in her head.
‘Well,’ said Precious Jade, ‘is it good?’
Mascara Jade smiled and nodded.
Precious Jade laughed:

‘How can I, full of sickness and of woe,
Withstand that face which kingdoms could o’erthrow?’

Mascara Jade reddened to the tips of her ears. The eyebrows that seemed to frown yet somehow didn’t were raised now in anger and the lovely eyes flashed. There was rage in her crimson cheeks and resentment in all her looks.
‘You’re hateful!’ - she pointed a finger at him in angry accusal — ‘deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!’
At the words ‘take advantage of me’ her eyes filled with tears, and as she finished speaking she turned from him and began to go.

"It isn’t a good idea to tip them in the water," said Mascara Jade Forest. "The water you see here is clean, but farther on beyond the weir, where it flows past people’s houses, there are all sorts of muck and impurity, and in the end they get spoiled just the same. In that corner over there I’ve got a grave for the flowers, and what I’m doing now is sweeping them up and putting them in this silk bag to bury them there, so that they can gradually turn back into earth. Isn’t that a cleaner way of disposing of them?" Precious Jade was full of admiration for this idea. "Just let me put this book somewhere and I’ll give you a hand." "What book?" said Mascara Jade Forest. "Oh... The Doctrine of the Mean and The Greater Learning," he said, hastily concealing it. "Don’t try to fool me!" said Mascara Jade Forest, "You'd better let me look at it in the first place, instead of hiding it so guiltily." "In your case, I have nothing to be afraid of," said Precious Jade, "but if I do let you look, you must promise not to tell anyone. It’s marvellous stuff. Once you start reading it, you’ll even stop wanting to eat!" He handed the book to her, and Mascara Jade put down her things and looked at it. The more she read, the more she liked it, and before very long she had read several acts. She felt the power of the words and their lingering fragrance. Long after she had finished reading, when she had laid down the book and was sitting there rapt and silent, the lines continued to ring on in her head. "Well," said Precious Jade, "is it good?" Mascara Jade smiled and nodded. Precious Jade laughed, "How can I, full of sickness and of woe, withstand that face which kingdoms could overthrow?"
Mascara Jade reddened to the tips of her ears. The eyebrows that seemed to frown yet somehow didn’t were raised now in anger and the lovely eyes flashed. There was rage in her crimson cheeks and resentment in all her looks. "You’re hateful!"— she pointed a finger at him in angry accusal — "deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!" At the words ‘take advantage of me’ her eyes filled with tears, and as she finished speaking she turned from him and began to go.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 23:24, 8 June 2021 (UTC)

=Yuán Jìng 袁静=
宝玉着了忙，向前拦住道：“好妹妹，千万饶我这一遭，原是我说错了。若
有心欺负你，明儿我掉在池子里，叫个癞头鼋吃了去，变个大忘八，等你明儿做
了‘一品夫人’病老归西的时候，我往你坟上替你驼一辈子碑去。”说的林黛玉
“扑嗤”的一声笑了，一面揉着眼，一面笑道：“一般唬的这么个调儿，还只管胡
说。呸，原来也是个‘银样蜡枪头’。”宝玉听了，笑道：“你说说，你这个呢？我
也告诉去。“林黛玉笑道：“你说你会‘过目成诵’，难道我就不能‘一目十行’
么？”宝玉一面收书，一面笑道：“正经快把花埋了罢，别提那些个了。”二人便收
拾落花。

正才掩埋妥协，只见袭人走来，说道：“那里没找到？摸在这里来。那边大
老爷身上不好，姑娘们都过去请安，老太太叫打发你去呢，快回去换衣服罢。”宝
玉听了，忙拿了书，别了黛玉，同袭人回房换衣不提。

这里林黛玉见宝玉去了，听见众姐妹也不在房中，自己闷闷的。正欲回
房，刚走到梨香院墙角外，只听见墙内笛韵悠扬，歌声婉转，林黛玉便知是那十
二十女孩子演习戏文。
Precious Jade got alarmed and stopped her, saying, "Dear sister, please forgive me for this time. I has said wrong words. If I meant to insult you, I'll fall into the pond tomorrow and let the tortoise with scabby-head swallow me. Then I will become into a turtle. And when you get the first rank of lady and pass away, I will bear the stone tablet to your grave all my life. " Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, "You are so easy to scare, and you still talk nonsense. ' You are nothing but a flowerless sprout. You are also a lead spearhead that looks like silver'." Precious Jade laughed, "You said this, and I'll tell on you, too." Jade Forest said, " You said you can read once and memorize a passage. Why can't I read ten lines at one glance. " Precious Jade laughed as putting away books, "Don't go on saying it. Let's keep hurrying the flowers. " As soon as they finished burrying, Aroma came and said, "You are here. I'very been looking for you. The elder Master feels unwell, all the ladies gone to inquire after his health. The old lady asks you to go. Come back and get dressed. " Precious Jade then took his books, said goodbye to Jade Forest and went back to his room with Aroma. Since Precious Jade has gone and the other girls are all out, Jade Forest felt glum. When she decided to go back her room, she heard melodious fluting and sweet singing over the wall of Pear Fragrance Court. And she got to know that the twelve girls are practicing performing operas. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 01:20, 6 June 2021 (UTC)

Precious Jade got alarmed and stopped her, saying, "Dear sister, please forgive me for this time. I have said wrong words. If I mean to insult you, I'll fall into the pond tomorrow letting the tortoise with scabby-head swallow me. Then I will become into a turtle. And when you get the first rank of lady and pass away, I will bear the stone tablet to your grave all my life. " Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, "You are so easy to scare, and you still talk nonsense. ' You are nothing but a flowerless sprout. You are also a lead spearhead that looks like silver'." Precious Jade laughed, "You said this, and I'll tell on you, too." Mascara Jade said, " You said you can read once and memorize a passage. Why can't I read ten lines at one glance. " Precious Jade laughed as putting away books, "Don't go on saying it. Let's keep hurrying the flowers. " As soon as they finished burrying, Aroma came and said, "You are here. I've been looking for you. The elder Master feels unwell, and all the ladies gone to inquire after his health. The old lady asks you to go. Come back and get dressed. " Precious Jade then took his books, said goodbye to Mascara Jade and went back to his room with Aroma. Since Precious Jade has gone and the other girls are all out, Mascara Jade felt glum. When she decided to go back her room, she heard melodious fluting and sweet singing over the wall of Pear Fragrance Court. And she got to know that the twelve girls are practicing performing operas.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 05:34, 9 June 2021 (UTC)

=Zhào Kē 赵轲 Mr.=
虽未留心去听，偶然两句吹到耳内，明明白白一字不落
道：“原来是姹紫嫣红开遍，似这般，都付与断井颓垣。”林黛玉听了，倒也十分感
慨缠绵，便止步侧耳细听，又唱道是：“良辰美景奈何天，赏心乐事谁家院？”听了
这两句，不觉点头自叹，心下自思：“原来戏上也有好文章，可惜世人只知看戏，
未必能领略其中的趣味。”想毕，又后悔不该胡想，耽误了听曲子。再听时，恰唱
到：“只为你如花美眷，似水流年……”黛玉听了这两句，不觉心动神摇。又听
道“你在幽闺自怜”等句，越发如醉如痴，站立不住，便一蹲身坐在一块山子石
上，细嚼“如花美眷，似水流年”八个字的滋味。忽又想起前日见古人诗中有
“水流花谢两无情”之句，再词中又有“流水落花春去也，天上人间”之句，又兼
方才所见《西厢记》中“花落水流红，闲愁万种”之句，都一时想起来，凄聚在一
处。仔细忖度，不觉心痛神驰，眼中落泪。正没个开交，忽觉背后有人击他一
下，及回头看时，原来是个女子，未知是谁，下回分解。

Though she did not pay so much attention, she still caught all the words clearly according to those sentences happened to moving into her ears. It said, “It turns out that those flowers are booming with all kinds of colors, but all of such things are all burned into ruins.” Mascara Jade Forest heard that, filled with a thousand regrets. So she stopped and listen more carefully, and then got another sentence that “There is a pleasant day coupled with a fine landscape but I am not in the mood to admire it; in whose house there are those things happened have their mind relaxed and joyful?” Mascara Jade Forest could not help nod and sigh after those two sentences. She muse, “So actually there are some perfect articles in dramas. However, ordinary people are only able to watch shows and get no awareness of such fun.” At the next moment she regretted for her conjectures with blindness and disorder, which wasted her time of watching the drama. When her attention was back, she heard that “Only for your flowers-like beauty but years pass by quickly… ” Mascara Jade felt a sense of touch after hearing that. Then there came other words like “You are lamenting yourself lonely in your secluded boudoir.” and so on, which caused her feeling of indulging. Failing to keep standing, she sat on a stone and considered the word “Only for your flowers-like beauty but years pass by quickly… ” carefully. Suddenly she reminded that the day before yesterday she happened to see sentences in predecessor’s poems, which are that “Water runs and flowers fade away, which are both ruthless.” and “The spring has gone just like water runs away and flowers fade away; the past is like heaven but today only leaves ruins.” Together with the sentence listened just now in Romance of the Western Chamber, “When flowers fell into running water it becomes red, which bring thousands of melancholy to people.” she finally got all those sentences.Pitifully and sorrowfully, she shed tears after her considering. At this time, there was a person who suddenly touched her. She turned her head and figured out that’s a woman. We will know who she is in next chapter.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 10:47, 5 June 2021 (UTC)

Though she did not pay so much attention, she still caught all the words clearly according to those sentences happened to move into her ears. It said, “It turns out that those flowers are booming with all kinds of colors, but all of such things are all burned into ruins.” Mascara Jade Forest heard that, filled with a thousand regrets. So she stopped and listened more carefully, and then got another sentence that “There is a pleasant day coupled with a fine landscape but I am not in the mood to admire it; in whose house there are those things happened have their mind relaxed and joyful?” Mascara Jade Forest could not help nod and sigh after those two sentences. She mused, “So actually there are some great articles in dramas. However, ordinary people watch shows only but get no awareness of such fun.” At the next moment she regretted for her conjectures with blindness and disorder, which wasted her time of watching the drama. When her attention was back, she heard that “Only for your flowers-like beauty but years pass by quickly… ” Mascara Jade felt a sense of touch after hearing that. Then there came other words like “You are lamenting yourself lonely in your secluded boudoir.” and so on, which caused her feeling of indulging. Failing to keep standing, she sat on a stone and considered the word “Only for your flowers-like beauty but years pass by quickly… ” carefully. Suddenly she reminded that the day before yesterday she happened to see sentences in predecessor’s poems, which are that “Water runs and flowers fade away, which are both ruthless.” and “The spring has gone just like water runs away and flowers fade away; the past is like heaven but today only leaves ruins.” Together with the sentence listened just now in Romance of the Western Chamber, “When flowers fell into running water it becomes red, which bring thousands of melancholy to people.” she finally got all those sentences.Pitifully and sorrowfully, she shed tears after her consideration. At this time, there was a person who suddenly touched her. She turned her head and figured out that’s a woman. We will know who she is in next chapter.--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 16:00, 8 June 2021 (UTC)

20210526 culture

2021-06-14T03:07:38Z

Wu Siyi: /* Wáng Zǐhán 王子涵 */

=Bào Qìnwén 鲍沁雯=

这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如
今管不着他们。因此，只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一
顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应，有的说：“好个讨厌的老
货！”李嬷嬷又问道：“这盖碗里是酥酪，怎不送与我吃？”说毕，拿起就吃。一个
丫头道：“快别动！那是说了给袭人留着的，回来又惹气了。你老人家自己承
认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这样坏了肠
子！别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比
我还重？难道他不想想怎么长大了？我的血变的奶，吃的长这么大；如今我吃
他一碗牛奶，他就生气了？我偏吃了，看他怎样！你们看袭人不知怎样，那是我
手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气将酥酪吃尽。又一个
丫头笑道“他们不会说话，怨不得你老人家生气。宝玉还送东西孝敬你老人
家去，岂有为这个不自在的？”李嬷嬷道：“你们也不必妆狐嵋子哄我，打量上次
为茶撵茜雪的事我不知道呢。明儿有了不是，我再来领。”说着，赌气去了。

少时，宝玉回来，命人去接袭人，只见晴雯躺在床上不动，宝玉因问：“敢是
病了？再不然输了？”秋纹道：“他倒是赢的。谁知李老太太来了混输了，他气
的睡去了。

The maids knew quite well that Precious Jade would not mind, and since Nanny Plum had retired and left the house she had no further authority over them. They went on amusing themselves and simply ignored her. Asked how much Precious Jade are at each meal and what time he went to bed, they just answered at random. "What an old pest she is!" one muttered. "Is that a bowl of junket?" asked Nanny Plum. "Why didn’t you send it over to me? I’d better eat it here right now." She picked up a spoon and started eating it. "You leave that alone!" cried one girl. "That’s for Xiren. He’ll be annoyed when he comes back, and unless you own up you’ll get all of us into trouble.” "I can’t believe it of him." Nanny Plum was both indignant and embarrassed. "What is this, after all, but a bowl of milk? He shouldn’t begrudge me that - or more costly things either. Does he think more of Xiren than of me? Has he forgotten who brought him up? It’s my milk from my own heart’s blood that he was raised on, So why should he be angry if I have a bowl of his milk? I declare I will, just to see what he’ll do. You seem to think the world of Xiren, but who is she? A low-class girl. I should know, I trained the creature." With that, in a huff, she finished off the junket. They’ve no manners," said another maid soothingly. "I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him." "You don’t have to humor me in that sly way,' Nanny Li snorted. "Do you think I don’t know how Qianxue was dismissed, all because of a cup of tea? I’ll come back tomorrow to hear what my punishment’s to be." She went off then in a temper. Presently Precious Jade came home and sent someone to fetch Xiren. He saw Qingwen lying motionless on her bed. "Is she ill?" he asked. Or did she lose some game?" "She was winning," Qiuwen told him. But then Grandame Li came along and raised such a rumpus that she lost the game. She went to bed to sulk."
"You mustn't take Nanny Li so seriously" Precious Jade smiled. "Just leave her alone.”

The maids knew quite well that Precious Jade would not mind, and since Nanny Plum had retired and left the house she had no further authority over them. They went on amusing themselves and simply ignored her. Asked how much Precious Jade are at each meal and what time he went to bed, they just answered at random. "What an old pest she is!" one muttered. "Is that a bowl of junket?" asked Nanny Plum. "Why didn’t you send it over to me? I’d better eat it here right now." She picked up a spoon and started eating it. "You leave that alone!" cried one girl. "That’s for Aroma. He’ll be annoyed when he comes back, and unless you own up you’ll get all of us into trouble.” "I can’t believe it of him." Nanny Plum was both indignant and embarrassed. "What is this, after all, but a bowl of milk? He shouldn’t begrudge me that - or more costly things either. Does he think more of Aroma than of me? Has he forgotten who brought him up? It’s my milk from my own heart’s blood that he was raised on, So why should he be angry if I have a bowl of his milk? I declare I will, just to see what he’ll do. You seem to think the world of Aroma, but who is she? A low-class girl. I should know, I trained the creature." With that, in a huff, she finished off the junket. They’ve no manners," said another maid soothingly. "I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him." "You don’t have to humor me in that sly way,' Nanny Plum snorted. "Do you think I don’t know how Snow Alizarin was dismissed, all because of a cup of tea? I’ll come back tomorrow to hear what my punishment’s to be." She went off then in a temper. Presently Precious Jade came home and sent someone to fetch Aroma. He saw Sunny Cloud Formation lying motionless on her bed. "Is she ill?" he asked. Or did she lose some game?" "She was winning," Autumn Vein told him. But then Nanny Plum came along and raised such a rumpus that she lost the game. She went to bed to sulk."
"You mustn't take Nanny Plum so seriously" Precious Jade smiled. "Just leave her alone.”--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 10:22, 4 June 2021 (UTC)

The maids knew quite well that Precious Jade would not mind, and since Nanny Plum had retired and left the house she had no further authority over them. They went on amusing themselves and simply ignored her. Asked how much Precious Jade are at each meal and what time he went to bed, they just answered at random. "What an old pest she is!" one muttered. "Is that a bowl of junket?" asked Nanny Plum. "Why didn’t you send it over to me? I’d better eat it here right now." She picked up a spoon and started eating it. "You leave that alone!" cried one girl. "That’s for Aroma. Precious Jade will be annoyed when he comes back, and unless you own up you’ll get all of us into trouble.” "I can’t believe it of him." Nanny Plum was both indignant and embarrassed. "What is this, after all, but a bowl of milk? He shouldn’t begrudge me that - or more costly things either. Does he think more of Aroma than of me? Has he forgotten who brought him up? It’s my milk from my own heart’s blood that he was raised on, So why should he be angry if I have a bowl of his milk? I declare I will, just to see what he’ll do. You seem to think the world of Aroma, but who is she? A low-class girl. I should know, I trained the creature."
With that, in a huff, she finished off the junket. “They’ve no manners," said another maid soothingly. "I don' 't wonder you’re cross, nanny. Precious Jade often sends you presents. This isn’t going to upset him." "You don’t have to humor me in that sly way,' Nanny Li snorted. "Do you think I don’t know how Dasey Snow was dismissed, all because of a cup of tea? I’ll come back tomorrow to hear what my punishment’s to be." She went off then in a temper. Presently Precious Jade came home and sent someone to fetch Aroma. He saw Sunny Cloud Formation lying motionless on her bed. "Is she ill?" he asked. Or did she lose some games?" "She was winning," Autumn Vein told him. But then Nanny Plum came along and raised such a rumpus that she lost the game. She went to bed to sulk." "You mustn't take Nanny Plum so seriously" Precious Jade smiled. "Just leave her alone.”--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 06:39, 4 June 2021 (UTC)

=Chén Kērǔ 陈柯汝=

宝玉笑道：“你们别和他一般见识，由他去就是了。”

说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来，又代母
妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说“李奶奶
吃了。”宝玉才要说话，袭人便忙笑说道：“原来是留的这个，多谢费心。前日我
吃的时候好吃，吃过了，好肚子疼，闹的吐了才好了。他吃了倒好，搁在这里白
遭塌了。我只想风干栗子吃，你替我剥栗子，我去铺床。”

宝玉听了，信以为真，方把酥酪丢开，取栗子来，自向灯前检剥。一面见众
人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我
两姨妹子。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，
想是说，他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还
敢穿？我因为见他实在好得很，怎么也得他在咱们家就好了。”袭人冷笑道：
“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成？定还要拣实在好
的丫头才往你家来。”宝玉听了，忙笑道：“你又多心了！我说往咱们家来，必定
是奴才不成？说亲戚就使不得？”袭人道：“那也搬配不上。”宝玉便不肯再说，
只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你，明儿赌气
花几两银子买他们进来就是了。”

Precious Jade laughed: “Don’t stoop down to their level, and just let them be.” When he was talking, Aroma came and they saw each other. Aroma asked Precious Jade where he had his dinner and when he went back. She paid respects to the sisters present on behalf of her mother and younger sister. She then changed to her normal clothing and removed her makeup. Precious Jade asked for cheese. “Nanny Plum ate the lot,” his maids reported. Before he could make any comment Aroma interposed with a smile: “So that’s what you kept for me - thank you. The other day I enjoyed it, but it gave me a bad stomachache afterwards until I brought it all up. So it’s just as well as she has it, otherwise it would have been wasted. What I would fancy now are some dried chestnuts. Will you peel a few for me while I make your bed?”

Precious Jade listened, and he thought it was true. He threw away the cheese and took chestnuts. He then peeled them under the light. When he saw that others were not at the house, he asked Aroma: “What’s the relationship between you and the person who was in red?” Aroma answered: “She was my mother’s sister’s child.” Precious Jade praised her. Aroma said: “Why you signed? I know the reasons in your heart. You are wondering that she was not worthy to wear it.” Precious Jade explained: “Definitely not! No! Who dares to wear red if she dose not worth to? I was just appreciated her so much that I wanted her to be one member in our mansion.” Aroma sneered: “I just had a fate to be a servant, could it be said that my relatives have the same fates like me? You have to select the very fair girl to this mansion.” Precious Jade smiled and propitiated: “You thought too much, as she comes to our mansion not necessarily to be a servant, It is also agreeable to make her our relative.” Aroma replied: “For all that, she is still not well matched.” Then Precious Jade wouldn’t like to speak any more, and he just stripped the chestnuts. Aroma joked: “Why you shut down? I’d guess that I have offended you just now. Just buy them in for several taels tomorrow if you are sulked.”

Precious Jade laughed: “Don’t stoop down to their level, and just let them be.”

When he was talking, Aroma came and they saw each other. Aroma asked Precious Jade where he had his dinner and when he went back. She paid respects to the sisters present on behalf of her mother and younger sister. She then changed to her normal clothing and removed her makeup. Precious Jade asked for cheese. “Nanny Plum ate the lot,” his maids reported. Before he could make any comment Aroma interposed with a smile: “So that’s what you kept for me - thank you. The other day I have enjoyed it, but it gave me a bad stomachache afterwards until I brought it all up. So it’s just as well as she has it, otherwise it would have been wasted. What I would fancy now are some dried chestnuts. Will you peel a few for me while I make your bed?”

Precious Jade listened, and he thought it was true. He threw the cheese away and took chestnuts. He then peeled them under the light. When he saw that others were not at the house, he asked Aroma: “What’s the relationship between you and the person who was in red?” Aroma answered: “She was my mother’s sister’s child.” Precious Jade praised twice. Aroma said: “Why did you sigh? I know the reasons in your heart. You are wondering that she was not worthy to wearing it.” Precious Jade explained: “Definitely not! No! Who dares to wear red if she dose not worth to? I was just appreciated her so much that I wanted her to be one member in our mansion.” Aroma sneered: “I just had a fate to be a servant, could it be said that my relatives have the same fates like me? You have to select the very fair girl to this mansion.” Precious Jade smiled and propitiated: “You don’t need to worry too much, as she comes to our mansion not necessarily to be a servant, It is also agreeable to make her our relative.” Aroma replied: “For all that, she is still not well matched.” Then Precious Jade wouldn’t like to speak any more, and he just stripped the chestnuts. Aroma joked: “Why do you shut down? I’d guess that I have offended you just now. Just buy them in for several taels tomorrow if you are sulked.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 14:35, 6 June 2021 (UTC)

=Dài Mùyǔ 戴沐雨=

宝玉笑道：“你说的话怎么叫人答言呢？我不
过是赞他好，正配生在这深堂大院里，没的我们这种浊物倒生在这里！”袭人道：
“他虽没这造化，倒也是姣生惯养的，我姨父姨娘的宝贝，如今十七岁，各样的嫁
妆都齐备了，明年就出嫁。”

宝玉听了“出嫁”二字，不禁又“嗐”两声。正不自在，又听袭人叹道：“只从
我来这几年，姊妹们都不得在一处，如今我要回去了，他们又都去了。”宝玉听这
话内有文章，不觉吃一惊，忙丢下栗子，问道：“怎么，你如今要回去了？”袭人道：
“我今儿听见我妈和哥哥商议，教我再耐烦一年，明年他们上来就赎我出去
呢。”宝玉听了这话，越发忙了，因问：“为什么要赎你？”袭人道：“这话奇了！我
又比不得是你这里的家生子儿，我一家子都在别处，独我个一人在这里，怎么是
个了局？”宝玉道：“我不叫你去也难。”袭人道：“从来没有这理。便是朝廷宫
里，也有定例，或几年一选，几年一入，没有长远留下人的理，别说你家！”

宝玉想一想，果然有理，又道：“老太太不放你也难。”袭人道：“为什么不
放？我果然是个最难得的，或者感动了老太太，太太必不放我出去的，设或多给
我家几两银子留下，然或有之；其实我也不过是个最平常的人，比我强的多而且
多。

Precious Jade laughed: “How should I reply to you? I just think that he is really better to live in such courtyards than us.” Aroma said: “Now that he doesn’t have such destiny, it seems that his parents have spoiled him. The treasure of my auntie, 17 years old, has already finished preparing for the dowry and she would get married next year.”

Hearing the word “marriage”, Precious Jade couldn’t control himself and sighed. As he felt uncomfortable, Aroma signed again that: “It was a pity that these years I haven’t had the opportunity to be together with my sisters. Nowadays I was ready to go back, but they are marrying.” Precious Jade read the deeper meaning in it, astonishingly, and threw the chestnut away, asking: “What? Are you planning to go home?” Aroma answered: “I heard my mom and brother talking about this today. They promised to me that they would redeem me next year and required me to be patient.” Hearing this, Precious Jade felt much more anxious, then asked: “Why do they decided to redeem you?” Aroma said: “It is surprising that you could ask such questions. I am not the offspring of the master here and my families are staying in another place. How can I just stay here?” Precious Jade said: “If I don’t allow your leaving, of course you cannot achieve it.” Aroma said: “It makes no sense. Even if I am in the palace, there are rules regulating the year the emperor select the girls and they would not keep one staying there forever, not alone to your house.”

Thinking a lot, Precious Jade found it sensible, and asked: “If the old lady doesn’t allow your leaving, you cannot leave here either.” Aroma asked: “Why won’t the old lady let me go? It turned out that I was the most precious, or what I have done moved the old lady, so that the old lady was reluctant to let me go. Maybe she would leave my family some money, or some other things. Actually I was the most normal person compared with those averages and there are much more who are better than me.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 07:05, 2 June 2021 (UTC)

Precious Jade laughed， “How should I reply to you? I just think that he is really better to live in such courtyards than us.” Aroma said， “Now that he doesn’t have such destiny, it seems that his parents have spoiled him. The treasure of my auntie, 17 years old, has already finished preparing for the dowry and she would get married next year.”

Hearing the word “marriage”, Precious Jade couldn’t control himself and sighed. As he felt uncomfortable, Aroma signed again that， “It was a pity that these years I haven’t had the opportunity to be together with my sisters. Nowadays I was ready to go back, but they are marrying.” Precious Jade read the deeper meaning in it, astonishingly, and threw the chestnut away, asking， “What? Are you planning to go home?” Aroma answered， “I heard my mom and brother talking about this today. They promised to me that they would redeem me next year and required me to be patient.” Hearing this, Precious Jade felt much more anxious, then asked， “Why do they decided to redeem you?” Aroma said: “It is surprising that you could ask such questions. I am not the offspring of the master here and my families are staying in another place. How can I just stay here?” Precious Jade said， “If I don’t allow your leaving, of course you cannot achieve it.” Aroma said， “It makes no sense. Even if I am in the palace, there are rules regulating the year the emperor select the girls and they would not keep one staying there forever, not alone to your house.”

Thinking a lot, Precious Jade found it sensible, and asked， “If the old lady doesn’t allow your leaving, you cannot leave here either.” Aroma asked， “Why won’t the old lady let me go? It turned out that I was the most precious, or what I have done moved the old lady, so that the old lady was reluctant to let me go. Maybe she would leave my family some money, or some other things. Actually I was the most normal person compared with those averages and there are much more who are better than me.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 08:24, 9 June 2021 (UTC)

=Dèng Dān 邓丹=

自我从小儿来跟着老太太，先伏侍了史大姑娘几年，如今又伏侍了你几年。
如今我们家来赎，正是该叫去的，只怕连身价也不要，就开恩叫我去呢。若说为
伏侍得你好，不叫我去，断然没有的事。那伏侍得好，分内应当的，不是什么奇
功；我去了仍旧又有好的了，不是没了我就成不得的。”宝玉听了这些话，竟是有
去的理，无留的理，心里越发急了，因又道：“虽然如此说，我的一心要留下你，不
怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”袭人道：
“我妈自然不敢强。且慢说和他好说，又多给银子；就便不好和他说，一个钱也
不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸
道的事。这比不得别的东西，因为喜欢，加十倍利弄了来给你，那卖的人不得吃
亏，可以行得；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，
老太太、太太断不肯行的。”宝玉听了，思忖半晌，乃说道：“依你说来说去，是去
定了？”袭人道：“去定了。”宝玉听了自思道：“谁知这样一个人，这样薄情无义
呢。”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说
着便赌气上床睡了。

原来袭人在家，听见他母兄要赎他回去，他就说：“至死也不回去的。”

When I came here as a child I was with the old lady; then I waited on Miss Shi for a couple of years, and now I’ve been waiting on you for several years. If my family come to redeem me, your family is bound to let me go. They may even be generous enough not to ask for any money. If you say I look after you well, there’s no merit in that — it’s my job. And my place will be taken by someone else just as good. I’m not indispensable.”By now it did indeed sound to Precious Jade as if she had every reason to leave and none at all to stay. Yet in desperation he argued, “Well, but if I insist the old lady will speak to your mother and pay her so much that she won’t like to take you away.”“Of course my mother wouldn’t dare refuse. Even if you didn’t talk nicely to her or pay her a cent, so long as you insisted on my staying how could she stand out? But your family has never thrown its weight about like that in the past. This isn’t like offering ten times the usual price for something you happen to like, when the owner finds it worth his while to sell. If you kept me for no reason, it would do you no good and would break up my family. The old lady and Lady Wang wouldn’t dream of such a thing.”Precious Jade remained sunk in thought for several minutes. “So this means you’ll be going for certain?” “Yes.”“How can she be so heartless?” he wondered. Aloud, he said with a sigh, “If I’d known that you’d be going, I shouldn’t have taken you on in the first place. I shall be left all alone here, a poor forsaken ghost.” And he retired sulkily to bed. Now it so happened that when Aroma went home and heard her mother and brother talk of buying her out, she had assured them that Precious Jade would never let her go so long as he lived.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 09:05, 9 June 2021 (UTC)

They may even be generous enough not to ask for any money. If you say I look after you nicely for a long time, there’s no merit in that — it’s my job. And my place will be taken by someone else just as good. I’m not indispensable.”By now it did indeed sound to Precious Jade as if she had every reason to leave and none at all to stay. Yet in desperation he argued, “Well, but if I insist the old lady will speak to your mother and pay her so much that she won’t like to take you away.”“Of course my mother wouldn’t dare refuse. Even if you didn’t talk nicely to her or pay her a cent, so long as you insisted on my staying how could she stand out? But your family has never thrown its weight about like that in the past. This isn’t like offering ten times the usual price for something you happen to like, when the owner finds it worth his while to sell. If you kept me for no reason, it would do no good to you and would break up my family thoroughly .--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:51, 2 June 2021 (UTC)Ding Zhongxia

=Dīng Zhòngxià 丁仲夏=

又
说：“当日原是你们没饭吃，就剩我还值几两银子，若不叫你们卖，没有个看着老
子娘饿死的理；如今幸而卖到这个地方，吃穿和主子一样，又不朝打暮骂。况如
今爹虽没了，你们却又整理的家成业就，复了元气。若果然还艰难，把我赎出
来，再多掏摸几个钱，也还罢了，其实又不难了，这会子又赎我做什么？权当我
死了，再不必起赎我的念头！”因此哭闹了一阵。

他母兄见他这般坚执，自然必不出来的了。况且原是卖倒的死契，明仗着
贾宅是慈善宽厚之家，不过求一求，只怕连身价银一并赏了还是有的事呢；二则
贾府中从不曾作践下人，只有恩多威少的，且凡老少房中所有亲侍的女孩子们，
更比待家下众人不同，平常寒薄人家的小姐也不能那样尊重的。因此他母子两
个就死心不赎了。次后忽然宝玉去了，他二人又是那般景况，他母子二人心中
更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无赎念了。

且说袭人自幼见宝玉性格异常，其淘气憨顽自是出于众小儿之外，更有几
件千奇百怪口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘
管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有
赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去
了，知其情有不忍，气已馁堕。

“When you had nothing to eat and your only way of raising a little money was by selling me, I couldn’t stop you,” she said. “What girl can see her parents starve to death?I was lucky to be sold to this family, where I’m fed and clothed like a daughter of the house, not beaten all day long and scolded all night. Besides, even though father’s dead, you’ve got the family back on its feet and are as well-off again as you ever were. If you were still hard up, there might be some reason for redeeming me and re-selling me at a profit. But since there’s no need, why do it? Just pretend I’m dead and stop thinking of buying me back.”She wept and stormed until her mother and brother realized that she was adamant and would never leave.In any case she had been sold for life and although they thought the Jia family might be generous enough to let her go without asking for any money, they also knew that the servants there were not ill-used but shown more kindness than severity.Indeed, the girls who were personal attendants of members of the family, old or young, were generally treated more handsomely than servants in other jobs.In fact, they were even better off than daughters of ordinary humble households. So Mrs. Hua and her son did not press the point.Precious Jade’s unexpected visit and the apparent intimacy between maid and master opened their eyes to the true situation, leaving them much reassured. In fact, this was something they had not even hoped for. So they abandoned all thought of buying As for Xiren, these years had shown her that Precious Jade was no ordinary youth but more high-spirited and wilful than other boys, with some indescribably perverse streaks in his character.Of late he had been so indulged by his grandmother that his parents were unable to control him strictly and he had now become so reckless and headstrong that he was losing patience with all conventions. She had long wanted to speak to him about this, but was convinced he would not listen to her.Luckily, by throwing dust in his eyes today, she was able to sound him out and get him into a chastened mood for a good lecture. His silent retreat to bed indicated how upset he was and how wounded.

=Dù Xīnyǔ 杜心语=

自己原不想栗子吃，只因怕为酥酪生事，又像那
茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。于是命小丫头子们将栗
子拿去吃了，自己来推宝玉。只见宝玉泪痕满面，袭人便笑道：“这有什么伤心
的？你果然留我，我自然不出去了。”宝玉见这话有因，便说道：“你倒说说，我还
要怎么留你？我自己也难说。”袭人笑道：“咱们素日好处，自不用说。但今日
安心留我，不在这上头。我另说出三件事来，你果然依了我，就是你真心留我
了，刀搁在脖子上，我也是不出去的了。”

宝玉忙笑道：“你说，那几件？我都依你。好姐姐，好亲姐姐！别说两三
件，就是两三百件我也依的。只求你们同看着我，守着我，等我有一日化成了飞
灰——飞灰还不好，灰还有形有迹，还有知识——等我化成一股轻烟，风一吹
便散了的时候，你们也管不得我，我也顾不得你们了。那时凭我去，我也凭你们
爱那里去就去了。”急得袭人忙握他的嘴，说：“好，好！我正为劝你这些，更说的
狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：
“改了，再说你就拧嘴。还有什么？”

She didn't want to eat chestnuts, just because she was afraid that the crisp cheese would cause trouble, and like the tea of Naxi snow, she wanted chestnuts as a pretext to get along with Precious Jade Merchant. So she ordered the girls to eat the chestnuts and push Precious Jade Merchant by themselves. Seeing that Precious Jade Merchant's face was full of tears, he said with a smile, "what's so sad about this? If you want me to stay, I won't go out. " There was room for Precious Jade Merchant's words to turn around, so he said, "tell me, how can I keep you? I don't know what to do myself Aroma said with a smile: "we have a good relationship on weekdays, needless to say. But if you want to stay with me today, you don't want this reason. I'll tell you three other things. If you promise me, you really want to keep me. Even if someone else puts a knife on my neck and threatens me, I won't go out. "

Precious Jade Merchant immediately said with a smile, "you say, which ones? I promise you everything. Good sister, good sister! Not to mention two or three things, even two or three hundred things, I have agreed. Just ask you to look at me and be with me. When I turn into fly ash one day - the fly ash is not good, and the ash still has traces - when I turn into a puff of smoke and the wind blows away, you can't care about me and I can't care about you. When the time comes, let me go, and I'll let you go wherever you like. "

Aroma quickly covered his mouth and said, "OK, OK! I'm trying to persuade you not to say that again. " Precious Jade Merchant said: "don't say that again." "This is the first thing to change," he said Precious Jade Merchant said: "if you change it, you can screw my mouth. What else? "

=Guō Yàbō 郭亚波=

袭人道：“第二件，你真喜读书也罢，假喜也罢，只在老爷跟前，或在别人跟
前，你别只管批驳诮谤，只作出个喜读书的样子来，也叫老爷少生些气，在人前
也好说嘴。他心里想着，我家代代读书，只从有了你，不承望你不但不喜读书，
已经他心里又气又脑了，而且背前面后乱说那些混话。凡读书上进的人，你就
起个名字，叫做‘禄蠹’；又说只除‘明明德’外无书，都是前人自己不能解圣人
之书，便另出己意，混编纂出来的。这些话，怎怨得老爷不气，不时时打你？叫
别人怎么想你？”

宝玉笑道：“再不说了。那是我小时不知天高天厚，信口胡说，如今再不敢
说了。还有什么？”袭人道：“再不可谤僧毁道，调脂弄粉。还有更要紧的一件
事，再不许吃人嘴上擦的胭脂了，与那爱红的毛病儿。”宝玉道：“都改，都改！再
有什么？快说罢。”袭人道：“再也没有了，只是百事检点些，不任意任情的就是
了。你若果然都依了，便拿八人轿也抬不出我去了。”宝玉笑道：“你这里长远
了，不怕没八人轿你坐。”袭人冷笑道：“这我可不希罕的。有那个福气，没有那
个道理，纵坐了也没甚趣。”

二人正说着，只见秋纹走进来，说：“三更天了，该睡了。方才老太太打发
嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到亥正，方从新盥漱，
宽衣安歇，不在话下。

“The second thing is this. Whether you like studying or not, in front of the old master and other people stop running it down and making sarcastic remarks about it At least pretend to like studying, so as not to provoke your father and give him a chance to speak well of you to his friends. After all, he thinks: The men of our family have been scholars for generations, but this son of mine has let me down---he doesn’t care for books. As if this wasn’t bad enough, you keep saying crazy things in public as well as in private, sneering at those who study hard so as to get on and calling them career-grubbers. You also say that, apart from that classic on ‘manifesting bright virtue’. All the rest are trash produced by fools of old who didn’t understand the Sage. No wonder your father gets so angry with you that he keeps punishing you. What sort of impression does that make on people?” “All right.” Precious Jade Merchant laughed. “That was just wild talk when I was too young to know any better. I don’t say such things nowadays. What else?” “You must stop abusing Buddhist monks and Taoist priests and playing about with girls’ cosmetics and powder. Most important of all, you must stop kissing the rouge on girls’ lips and running after everything in red.” “I promise, I promise. What else is there? Tell me, quick!” “That’s all. Just be a bit more careful about things in general instead of getting carried away by all your whims and fancies. If you’ll do all I’ve asked, I promise never to leave you, not even if they send a big sedan-chair with eight bearers to fetch me away. Precious Jade Merchant chuckled. “If you stay here long enough, you’ll have your sedan-chair and eight bearers some day.” “I don’t covet such luck.” She smiled disdainfully. “If I’m not entitled to it what’s the good of riding on one?” At this point Autumn Vein appeared and said, “It’s nearly the third watch: time you were in bed. Just now the old lady sent round a nurse to ask, and I told her you were asleep.” Precious Jade Merchant asked her to hand him a watch and saw it was twelve o’clock. He washed and rinsed his mouth all over again, then undressed and lay down to sleep.

=Huáng Fāngfāng 黄芳芳=

至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣
的住，次后捱不住，只要睡着，因而和衣躺在炕上。宝玉忙回了贾母，传医诊视，
说道：“不过偶感风寒，吃一两剂药疏散疏散就好了。”开方去后，令人取药来煎
好，刚服下去，命他盖上被窝渥汗，宝玉自去黛玉房中来看视。

彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起
绣线软帘，进入里间，只见黛玉睡在那里，忙走上来推他道：“好妹妹，才吃了饭，
又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛，我前儿闹了一
夜，今儿还没有歇过来，浑身酸疼。“宝玉道：“酸疼事小，睡出来的病大，我替
你解闷儿，混过困去就好了。”黛玉只合着跟，说道：“我不困，只略歇歇儿，你且别
处去闹会子再来。”宝玉推他道：“我往那里去呢，见了别人就怪腻的。”

黛玉听了，“嗤”的一笑道：“你既要在这里，那边去老老實实的坐着，咱们
说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们
在一个枕头上”黛玉道：“放屁！外面不是枕头？拿一个来枕着。”宝玉出至外
间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听
了，睁开眼，起身笑道：“真真你就是我命中的‘天魔星’，请枕这一个！”

Until the next morning, Aroma got up to find that he had a heavy body, a headache, distending eyes and hot limbs. At the beginning, he still had strength to struggle. Eventually, he could not to defeat his illness and went into sleep with clothes on the bed. Precious Jade hurriedly gave a reply to Grandma Merchant. A doctor was called to examine Aroma . The doctor said," It is just a small fever. Taking one dose or two doses of medicine is enough to cure it." The doctor left after prescribing medicine. Precious Jade ordered some people to get the medicine and boil it. Obeying orders, Aroma took in the medicine and covered herself with her quit to perspire. Precious Jade went along to Mascara Jade's to see her.

That moment Mascara Jade was having an afternoon nap on the bed. All girls went out the room to do anything that they 'd like to do. It was so quiet in the room. Precious Jade lifted the soft curtain of embroidery thread and went into the inner room, finding Mascara Jade sleeping there. He hurried up to push her and said, "My dear sister, you just finished my dinner. And then you sleep.", and woke Mascara Jade up. Mascara Jade found that it was Precious Jade , saying that," You are supposed to take a walk outside. I have not recover from soreness of my whole body since I was uncomfortable all the last night." Precious Jade answered," Soreness is not a big deal. However always seeping can cause serious illness. I will divert you from boredom. It will be OK only after you feel sleepy.", pushing her and continuing to say," Where should I go? I always feel bored to meet others."

Hearing these words, Mascara Jade laughed with a "Chi". She said," If you want to stay here, go to that side and sit sill. Let's have a chat. Precious Jade said," I want to lie down,too." Mascara Jade replied," Then you can lie down." Precious Jade said," There is no more pillow. Let's sleep on the same pillow." Mascara Jade said," Bosh! Isn't a pillow it the outer room?" Take that one to sleep on." Precious Jade walked to the outer room and looked around the room. He came back laughing," I don't want that one. It must belong to some old dirty woman." Hearing this, Mascara Jade opened her eyes, got up with a smile and said," You are the real unbeatable rival in my life. Sleep on this one. Please!"

=Huáng Lìpèi 黄沥霈=

说着，将自己枕的推与宝玉，又起身将自己的再拿了个来自己枕了，二人对面方倒下。

黛玉因看见宝玉左边腮上有钮扣大小的一块血渍，便欠身凑近前来，以手
抚之细看道：“这又是谁的指甲刮破了？”宝玉倒身，一面躲，一面笑道：“不是刮
的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找手帕子要揩
拭。黛玉便用自己的帕子替他揩拭了，口内说道：“你又干这些事。干也罢了，
必定还要带出幌子来。便是舅舅看不见，别人看见了，又当奇事新鲜话儿去学
舌讨好，吹到舅舅耳朵里，又大家不干净惹气。”

宝玉总未听见这些话，只闻得一股幽香，却是从黛玉袖中发出，闻之令人
醉魂酥骨。宝玉一把便将黛玉的衣袖拉住，要瞧笼着何物。黛玉笑道：“这等
时候谁带什么香呢？”宝玉笑道：“既如此，这香是那里来的？”黛玉道：“连我也
不知道，想必是柜子里头的香气衣服上熏染的，也未可知。”宝玉摇头道：“未必。
这香的气味奇怪，不是那些香饼子、香球子、香袋子的香。”黛玉冷笑道：“难道我
也有什么‘罗汉’‘真人’给我些奇香不成？便是得了奇香，也没有亲哥哥亲兄
弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”

宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿
可不饶你了！”

As Mascara Jade uttered these words, she pushed her own pillow towards Precious Jade, and getting up. She went and fetched another pillow of her own upon which she lay her head in such a way that both of them reclined opposite to each other.

However, when Mascara Jade turning up her eyes and looking, glimpsed on Precious Jade's cheek, there was a spot of blood about the size of button on the left side on his face. She speedily bend her body and drew near to him. She rubbed it with her hand, then she scrutinized it closely. She went on to inquire, "Whose nail has scratched this open?" Precious Jade with his body still reclining and withdrawing from her reach, as he did so, he answered with a smile: "It isn't a scratch; I presume it must be a simply drop which spattered on my cheek when I was mixing and clarifying the cosmetic paste for them just now." Saying this, he tried to get his handkerchief to wipe it off, but Mascara Jade used her own and rubbed it clean for him, while she observed: " You are doing all such things again. You may attend to them, but must you make it public? Though uncle may not see it, there were others will notice it and they would act it as a strange occurrence and a nit of news, and curry favor with someone else and when it has reached uncle's ears, we shall all again provoke him to anger."

Precious Jade did not hear what she said, she was being intent to smelling a subtle scent instead which emanated from Mascara Jade's sleeve. The smell inebriated the soul and paralyzed the bones when inhaled. With a snatch, Precious Jade laid hold of Mascara Jade's sleeve meaning to see what object was concealed in it; but Mascara Jade smiled and said: "At such a time at this, who keeps scents at one's side?" "Well, in that case," Precious Jade rejoined with a smirking face, "where does this scent come from?" "I myself don't know and I presume it must be some scent in the press which hs infused the clothes, but there is no saying."

"It may not," Precious Jade added and he shook his head; this smell is very peculiar and don't resemble the perfume of scent-bottles, scent-balls or scented sachets!" "Is it likely that I have, like others Buddhistic disciples," Mascara Jade asked and laughed ironically, "or worthies to give me this kinds of scents? If there is some peculiar scent on me, but I do not have any older or younger brothers to get the flowers, buds, dew and snow and concoct any for me; maybe all I have are those common scents, that's all."

"Whenever I uttered any single remark," Precious Jade urged with a grin, "you will bring up all these insinuations; unless I deal with you severely, you will never know what stuff I'm made of, from henceforth I'll not show you more any grace!"

=Huáng Xiàolán 黄笑兰=

说着翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下
乱挠。黛玉素性触痒不禁，宝玉两手仲来乱挠，便笑的喘不过气来，口里说：“宝
玉！你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑
道：“再不敢了。”一面理鬓笑道：“我有奇香，你有‘暖香’没有？”

宝玉见问，一时解不来，因问“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢
才！你有玉，人家就有金来配你；人家有‘冷香’，你就没有‘暖香’去配？”宝玉
方听出来，宝玉笑道“方才求饶，如今更说狠了。”说着又去伸手。黛玉忙笑道：
“好哥哥，我可不敢了。”宝玉笑道．‘饶便饶你，只把袖子我闻一闻。”说着便拉
了袖子笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去，
不能。咱们斯斯文文的躺着说话儿。”说着复又倒下，黛玉也倒下，用手帕盖上
脸。

宝玉有一搭没一搭的说些鬼话，黛玉只不理。宝玉问他几岁上京，路上见
何景致古迹，扬州有何遗迹故事，土俗民风，黛玉不答。宝玉只怕他唾出病来，
便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道？”黛玉见他说的
郑重，又且正言厉色，只当是真事，因问：“什么事？”宝王见问，便忍着笑，顺口诌
道：“扬州有一座黛山，山上有个林五洞，……”

He rose to his knees, blew on his hands, then stretched them out and started tickling her in the ribs and under her armpits. Mascara Jade had always been ticklish, and this surprise attack set her giggling so much that she very nearly choked. “Stop it, Precious Jade,” she gasped “Stop, or I’ll be angry.” He desisted then, demanding with a smile, “Will you talk that way anymore?” “I dare not.” Smoothing her hair she laughed. “You say I have an unusual scent, have you a warm scent?

“A warm scent?” He looked puzzled. Mascara Jade shook her head with a sigh. “How dense you are! You have jade, and someone else has gold to match it. So don’t you have a warm scent to match her cold scent?” Precious Jade caught her meaning then and chuckled. “You were begging for mercy a minute ago, but now you’re worse than ever.” He reached out again. “Dear cousin, I promise not to teases,” she cried hastily “All right, I’ll forgive you if you let me smell your sleeve.” With that, he covered his face with her sleeve and started sniffing as if he would never stop. She pulled away her arm. “You ought to go now.” “Go I can’t. Let’s lie down in a civilized way and chat.”

He stretched out again while Mascara Jade lay down too, covering her face with her handkerchief and paying no attention to his rambling questions. How old had she been when she came to the capital? What fine sights and monuments had she seen on the way? What places of historical interest were there in Yangzhou? What were the local customs and traditions? Mascara Jade made no reply and to keep her awake — for he feared sleep might her indigestion — Precious Jade played a new trick. “Aiyal!” he exclaimed.” “Do you know the extraordinary thing that happened near your judgment hall in Yangzhou?” Taken in by his straight face and earnest manner Mascara Jade asked to hear about it. Then Precious Jade, suppressing a laugh, started romancing. “In Yangzhou, there’s a hill called Mount Mascara, in the side of which is a cavern called Forest Cavern.

=Huáng Zǐlóng 黄梓龙 Mr.=

黛玉笑道：“这就扯谎，自来也没
有听见这山。”宝玉道：“天下山水多着呢，你那里知道这些不成？等我说完了
你再批评。”黛玉道：“你且说。”宝玉又诌道：“林子洞里原来有一群耗子精。那
一年腊月初七日，老耗子升座议事，说：‘明日乃是腊八日，世上人都熬腊八粥，
如今我们洞中果品短少，须得趁此打劫些来方好。’乃拔令箭一枝，遣一能干小
耗前去打听。一时小耗回报：‘各处察访打听已毕，惟有山下庙里果米最多。’
老耗问：‘米有几样？果有几品？’小耗道：‘米豆成仓，不可胜记。果品有五种：
一红枣，二栗子，三落花生，四菱角，五香芋。’老耗听了大喜。即时点耗前去，乃
拨令箭，问：‘谁去偷米？’一耗便接令去偷米。又拔令箭问：‘谁去偷豆？’又一
耗接令去偷豆。然后一一的都各领令去了。只剩下香芋一种，因又拔令箭问：
‘谁去偷香芋？’只见一个极小极弱的小耗应道：‘我愿去偷香芋。’老耗并众耗
见他这样，恐不谙练，又恐怯懦无力，都不准他去。小耗道：‘我虽年小身弱，却
是法术无边，口齿伶俐，机谋深远。此去管比他们偷得还巧呢！’众耗忙问：‘如
何得比他们巧呢？”小耗道：‘我不学他们直偷，我只摇身一变，也变成个香芋，滚
在香芋堆里，使人看不出，听不见，却暗暗的用分身法搬运，渐渐的就搬运尽了。
岂不比直偷硬取的巧些？’

=Lǐ Yìhào 李艺浩=

众耗听了，都道：‘妙却妙，只是不知怎么个变法？你
去先变个我们瞧瞧。’小耗听了，笑道：‘这个不难，等我变来。’说毕，摇身说：
‘变。’竟变了一个最标致美貌的一位小姐。众耗忙笑说：‘变错了，变错了！原
说变果子的，如何变出小姐来？’小耗现形笑道：‘我说你们没见世面，只认得这
果子是香芋，却不知盐课林老爷的小姐才是真正的“香玉”呢。’”

黛玉听了，翻身爬起来，接着宝玉笑道：“我把你烂了嘴的！我就知道你是
编我呢。”说着便拧。宝玉连连央告：“好妹妹，饶我罢，再不敢了！我因为闻见
你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，还说是故典呢。”

一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，
笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“原来是宝兄弟！
怪不得他。他肚子里的故典原多。只是可惜一件，凡该用故典之时他偏就忘
了。有今日记得的，前儿夜里的芭蕉诗就该记得。眼面前的倒想不起来，别人
冷的那样，他急的只出汗。这会子偏又有记性了。”黛玉听了笑道：“阿弥陀佛！
到底是我的好姐姐，你一般也遇见对子了。可知一还一报，不爽不错的。”刚说
到这里，只听宝玉房中一片声吵嚷起来。未知何事，下回分解。
Hearing this, all the people said, 'It's wonderful, but I don't know how to change it. you change first. Let's see. "Hearing this, Xiaohao laughed and said," This is not difficult. Wait for me a minute.'Then he shook and said: 'change. '.And he turned into the most beautiful young lady. The crowd laughed and said: 'It was wrong, it was wrong! The thing that we first to say is change fruit. But how do you change a young lady? 'Xiaohao changed his true self and smiled:' I said that you are narrow vision, only knowing this fruit is sweet taro, but I do not know that Master Lin's daughter is the real "fragrant jade". '" Hearing this, Mascara Jade Forest turned over and got up. Then Precious Jade Merchant said with a smile, "I slapped you in your mouth! I knew you made fun of me.". She said and then twisted him. Precious Jade Merchant begged again and again, "Dear sister, please forgive me. Don't dare again!" He begged her forgiveness. While I smelled your fragrance, I was hit by this idea." Mascara Jade Forest laughed and said, "If you scolded someone, you said it was an literary quotation."Before she finished speaking, she saw Precious Hairpin Marshgrass coming, smiling and asking, "Who said the literary quotation? Let me hear it." Mascara Jade Forest sat down hurriedly.She laughed and said, "Who else? He scolded me and said it was the literary quotation." Precious Jade Merchant said with a smile, "It's Precious Jade Merchant! It is not his responsibility for him. He has many literary quotations. However, it is only a pity that he forgets it when he should use it. If you remember today, you should remember the poem made up the night before. He can't remember what's in front of my eyes. Others were so cold but he sweated. This moment he has a bit of a memory." Hearing this, Mascara Jade Forest laughed and said, "Amida Buddha! My good sister, you met the right person. Know a return a report, not good." Just saying here,they are only to hear a loud noise in the room of Precious Jade Merchant. What's going on? Next time we will reveal it.

=Liú Tíngyáng 刘廷阳=

◎第二十回王熙凤正言弹妒意林黛玉俏语谑娇音

话说宝玉在黛玉房中说“耗子精”，宝钗撞来，讽刺宝玉元宵不知“绿蜡”之
典，三人正在房中互相讽刺取笑。那宝玉正恐黛玉饭后贪眠，一时存了食，或夜
间走了困，皆非保养身体之法；幸而宝钗走来，大家谈笑，那林黛玉方不敢睡，自
己才放了心。忽听他房中嚷起来，大家侧耳听了一听，林黛玉先笑道：“这是你
妈妈和袭人叫唤呢。那袭人待他也罢了，你妈妈再要认真排场他，可见老背晦
了。”

宝玉忙欲赶过去，宝钗一把拉住道：“你别和你妈妈吵才是，他老糊涂了，
倒要让他一步儿为是。”宝玉道：“我知道了。”说毕，走来．只见李嬷嬷拄着拐
杖，在当地骂袭人：“忘了本的小娼妇！我抬举你起来，这会子我来了，你大模大
样的躺在炕上，见我也不理一理。一心只想妆狐媚子哄宝玉，哄得宝玉不理我，
只听你们的话。你不过是几两银子买来的毛丫头，这屋里你就作耗，如何使得！
好不好，拉出去配一个小子，看你还妖精似的哄人不哄！”袭人先道李嬷嬷不过
为他躺着生气，少不得分辩说：“病了，才出汗，蒙着头，原没看见你老人家。”后
来听见他说“哄宝玉”，又说“配小子”，由不得又羞又委屈，禁不住哭起来了。

宝玉虽听了这些话，也不好怎样，少不得替他分辩病了吃药等话，又说：
“你不信，只问剐的丫头们。”

As Precious Jade was in Mascara Jade's room telling her the story of the magic mice, Precious Hairpin burst in on them and twitted Precious Jade with his failure to remember the green wax' allusion and they sat teasing each other. Precious Jade was afraid that by sleeping after her meal, Mascara Jade would give herself indigestion through being insufficiently tired when she went to bed at night, but Precious Hairpin's arrival and the lively conversation that followed it expelled all Mascara Jade's desire to sleep and enabled him to lay aside his anxiety on her behalf. Just then a sudden commotion arose from the direction of Precious Jade's room, and the three of them stopped talking and turned their heads to listen. Mascara Jade was the first to speak: “That's your Nannie quarrelling with Aroma,” she said. “Although the girl goes out of her way to be nice to Nannie, yet still she manages to find fault with her! She’s in such a senile age.”

Precious Jade prepared to help, but Precious Hairpin restrained him: “Don't go quarrelling with your Nannie. She's only a silly old woman. You have to indulge her.” “Definitely,” said Precious Jade and ran off. Nanny Plum leaning on her stick abusing Aroma: “ Ungrateful little bitch! After all I've done for you, and now when I come to call on you, you lie back there on the kang like a young madam and don’t take notice of me! All you think about is to win Precious Jade heart. Due to you, he won't listen to me any more. He only does what you say. You just a girl that they only paid a few taels of silver, but you are so arrogant! How about they arrange a marriage for you with a servant, then we'd see how you managed to lead young gentlemen astray!”At first, Aroma thought Nanny Plum was anger on her failure to get up and welcome her, so she started to excuse herself: “I'm ill; I've just been sweating. I didn't see you because my head was under the clothes.” But when the old woman proceeded to go on about let marrying her to a servant and leading young men astray and so on, she felt humiliated, and burst into tears helplessly.

Precious Jade heard all these languages, and though it’s hard to argue, he failed to refrain himself from saying a word for Aroma: “She's ill. If you don't believe me, just ask other maids.”

=Liú Zhuōfán 刘卓凡 Mr.=

李嬷嬷听了这话，越发气起来了，说道：“你只护着
那起狐狸，那里还认得我了，叫我问谁去？谁不帮着你呢？谁不是袭人拿下马
来的？我都知道那些事。我只和你在老太太、太太跟前去讲，把你奶了这么大，
到如今吃不着奶了，把我丢在一旁，逞着丫头们要我的强！”一面说，一面哭起
来。彼时黛玉宝钗等也走过来劝道：“妈妈，你老人家担待他们些就完了。”李
嬷嬷见他二人来了，便诉委曲，将当日吃茶，茜雪出去，与昨日酥酪等事，唠唠叨
叨说个不了。

可巧凤姐正在上房算了输赢帐，听得后面一片声嚷动，便知是李嬷嬷老病
发了，排揎宝玉的人，正值他今儿输了钱，迁怒于人，便连忙赶过来，拉了李嬷
嬷，笑道：“妈妈别生气。大节下，老太太刚喜欢了一日，你是个老人家，别人吵
嚷，还要你管他们才是；难道你反不知规矩，在这里嚷起来，叫老太太生气不成？
你说谁不好，我替你打他。我家里烧的滚热的野鸡，快跟我来喝酒去。”一面说，
一面拉着走，又叫：“丰儿，替你李奶奶拿着拐棍子，擦眼泪的手帕子。”那李嬷嬷
脚不沾地，跟了凤姐儿走了，一面还说：“我也不要这老命了，索性今儿没了规
距，闹一场子，讨个没脸，强似受那娼妇的气！”后面宝钗黛玉见凤姐儿这般，都
拍手笑道：“亏他这一阵风来，把个老婆子撮了去。”

Nanny Plum heard that and became increasingly angry. She said, “You just defend for that vixen. Do you still know me? Who can I ask for? Who will not help you? Who is not drawn over to Amora’s side? I know all those things. I just talk those things in front of Grandma Merchant and Lady King. I have brought you up and now you don’t need my breeding and then throw me away. How dare you offend me for a servant’s sake.” She began to cry when she was talking. At that time, Mascara Jade Forest and Precious Hairpin Marshgrass also came here to comforted her: “Nanny, please excuse them more.” Nanny Plum saw them and complained to them. She chattered about having tea, Snow Alizarin’ going out and the thing about curds and whey.

Coincidentally, Splendid Phoenix King was calculating the losing and winning in the upper room. When she heard the tumult from the behind, she knew that Nanny’s old trouble is working. Nanny was rebuking Precious Jade Merchant’s servant. She just took out his anger on others when she lost money. Splendid Phoenix King rushed to Nanny and pull her. She smiled: “Don’t be so angry. It is during the big days and Grandma Merchant was happy yesterday. You are an old lady. If others wrangle, you need to keep them in check. Now it’s you who break the rules and make noise here. Do you want Grandma Merchant to be angry? You just give me the name who annoys you and I will beat that one for you. I have a cooked pheasant. You just come with me to have some drink.” She pulled Nanny to go out while talking. Then, she said to Abundance: “Hold the stick and the handkerchief to wipe away tears
for your Granny.” Nanny Plum followed her to leave there. And she also said: “I don’t want to live. I simply break the rule. I’d rather have a scene and lose my face than being bullied by that bitch.” Mascara Jade Forest and Precious Hairpin Marshgrass saw that, clapping and smiling. They said: “Thanks for her pulling Nanny away.”
--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:52, 28 May 2021 (UTC)

Nanny Plum heard that and became increasingly angry. She said, “You just defend for that vixen. Do you still remember who I am? Who can I ask for? Who will not stand by you? Who is not drawn over to Amora’s side? I know all those things. I will just talk those things in front of Grandma Merchant and Lady King. I have brought you up until now you don’t need my breeding, and then throw me away. How dare you offend me for a servant’s sake!” She began to cry when she was talking. At that time, Mascara Jade Forest and Precious Hairpin Marshgrass also came here to comfort her: “Nanny, please excuse them more.” Nanny Plum saw them and complained to them. She chattered about having tea, Dasey Snow’s going out and the thing about curds and whey.

Coincidentally, Splendid Phoenix King was calculating the losing and winning in the upper room. When she heard the tumult from the behind, she knew that Nanny’s old trouble is working. Nanny was rebuking Precious Jade Merchant’s servant. She just took out her anger on others when she lost money. Splendid Phoenix King rushed to Nanny and pull her. She smiled: “Don’t be so angry. It is during the big days and Grandma Merchant was happy yesterday. You are an old lady. If others wrangle, you need to keep them in check. Now it’s you who break the rules and make noise here. Do you want Grandma Merchant to be angry? You just give me the name who annoys you and I will beat that one for you. I have a cooked pheasant. You just come with me to have some drink.” She pulled Nanny Plum to go out while talking. Then, she said to Abundance: “Hold the stick and the handkerchief to wipe away tears for your Granny.” Nanny Plum followed her to leave there. And she also said: “I don’t want to live. I simply break the rule. I’d rather have a scene and lose my face than being bullied by that bitch.” Mascara Jade Forest and Precious Hairpin Marshgrass saw that, clapping and smiling. They said: “Thanks for her pulling Nanny Plum away.”

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:16, 9 June 2021 (UTC)

=Péng Jiāyù 彭佳钰=

宝玉点头叹道：“这又不知是那里的帐，只拣软的欺负。又不知是那个姑
娘得罪了，上在他帐上了……”一句未完，晴雯在旁说道：“谁又不疯了，得罪他
做什么？既得罪了他，就有本事承任，不犯着带累别人！”袭人一面哭，一面拉着
宝玉道：“为我得罪了一个老奶奶，你这会子又为我得罪这些人，这还不够我受
的，还只是拉扯人。”宝玉见他这般病势，又添了这些烦恼，连忙忍气吞声，安慰
他仍旧睡下出汗。又见他汤烧火热，自己守着他，歪在旁边劝他：“只养着病，别
想那些没要紧的事生气。”袭人冷笑道：“要为这些事生气，屋里一刻还留得了？
但只是天长日久，尽着如此吵闹，可叫人怎么样过呢。你只顾一时为我们得罪
了人，他们都记在心里，遇着坎儿，说得好说不好听，大家什么意思？”一面说，一
面禁不住流泪，又怕宝玉烦恼，只得又勉强忍着。

一时杂使的老婆子端了二和药来。宝玉见他才有汗意，不叫他起来，便自
己端着与他就枕上吃了，即令小丫鬟们铺炕。袭人道：“你吃饭不吃饭，到底老
太太、太太跟前坐一会子，和姑娘们玩一会子，再回来。我就静静的躺一躺也
好。”宝玉听说，只得依他，去了簪环，看他躺下，自往上房来，同贾母吃饭。饭
毕，贾母犹欲同那几个老管家的嬷嬷斗牌。

Precious Jade nodded and sighed. “Goodness only knows how this started. She keeps picking on people who can’t defend themselves. I suppose one of the other girls annoyed her yesterday, and she tried to settle scores like this......” The words were scarcely out of his mouth when Sunny Cloud Formation gave a laugh. “We’re not off our heads,” she said. “Why should we annoy her? And even if we had, we’d have taken the blame ourselves, not shift it to somebody else.” Aroma caught hold of Precious Jade’s hand and sobbed, “First you offend your old nurse because of me, and now because of me you’re offending everyone here. Haven’t I enough to put up with, without dragging them in as well?” Because she was ill and upset Precious Jade had to be patient. He urged her to lie down again and perspire. She was burning with fever and stretching out beside her he tried to soothe her. “Just think of your health. Don’t upset yourself over such trifles.” Aroma smiled bitterly. “If I got upset easily, how could I stay a single minute in this room? But when it goes on like this day after day, what do you expect us to do? I’m always urging you to stop offending people on our account.You’re just out to stick up for us on the spur of the moment, but they remember it, and the next chance they have at the very least they say something unpleasant. Think how difficult you make it for us all.” She could not help crying as she spoke, but for fear of upsetting Precious Jade she fought back her tears.

Presently the odd-job woman brought in the second dose of medicine. Precious Jade would not let Aroma get up since she seemed on the point of perspiring. Instead he carried the medicine to her and raised her on the pillow to drink it. Then he told some of the younger maids to prepare his kang. “Whether you mean to eat there or not, you’d better go and sit with Grandma Merchant and Lady King for a while,” suggested Aroma. “Then keep the young ladies company for a bit before coming back. I shall be all right after a quiet nap here.” Hearing this, Precious Jade removed her hairpins and bracelets for her and settled her for the night before going to dine in Grandma Merchant’s quarters. After dinner his grandmother felt disposed to play cards with some of the old stewardesses.

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:44, 9 June 2021 (UTC)

=Shū Lín 舒琳=

宝玉记着袭人，便回至房中，见袭人
朦朦睡去。自己要睡，天气尚早。彼时晴雯、绮霞、秋纹、碧痕都寻热闹找鸳鸯
琥珀等耍戏去了。见麝月一人在外间房里灯下抹骨牌。宝玉笑道：“你怎么不
同他们去？”麝月道：“没有钱。”宝玉道：“床底下堆着那些，还不够你输的？”麝
月道：“都玩去了，这屋子交给谁呢？那一个又病了，满屋里上头是灯，下头是
火。那些老婆子们都‘老天拔地’，服侍了一天，也该叫他们歇歇；小丫头们也
服侍了一天，这会子还不叫他们玩玩去？所以我在这里看着。”

宝玉听了这话，公然又是一个袭人。因笑道：“我在这里坐着，你放心去
罢。”麝月道：“你既在这里，越发不用去了，咱们两个说话玩笑岂不好？”宝玉
道：“咱们两个做什么呢？怪没意思的。也罢了，早上你说头痒，这会于没什么
事，我替你篦头罢。”麝月听了便道：“就是这样。”说着，将文具镜匣搬将来，卸
去钗钏，打开头发，宝玉拿了篦子替他一一梳筐。只篦了三五下，见晴雯忙忙走
进来取钱，一见了他两个，便冷笑道：“哦！交杯盏还没吃，倒上了头了！”宝玉笑
道：“你来，我也替你篦一篦。”晴雯道：“我没这么样大福。”说着，拿了钱，便摔
了帘子，出去了。

Precious Jade, be thinking himself of Aroma, hastened to return to his apartments; where seeing that Aroma was drowsily falling asleep, he himself would have wished to go to bed, but the hour was yet early. And as about this time Sunny Cloud Formation, I Hsia, Autumn Vein, Turquoise Mark had all, in their desire of getting some excitement, started in search of Mandarin Duck, Amber and their companions, to have a romp with them, and he espied Musk Deer Month alone in the outer room, having a game of dominoes by lamp-light, Precious Jade inquired full of smiles： "How is it you don't go with them?"
"I've no money," Musk Deer Month replied.
"Under the bed," continued Precious Jade, "is heaped up all that money, and isn't it enough yet for you to lose from?"

"Had we all gone to play," Musk Deer Month added, "to whom would the charge of this apartment have been handed over? That other one is sick again, and the whole room is above, one mass of lamps, and below, full of fire; and all those old matrons, ancient as the heavens, should, after all their exertions in waiting upon you from morning to night, be also allowed some rest; while the young servant girls, on the other hand, have likewise been on duty the whole day long, and shouldn't they even at this hour be left to go and have some distraction? and that's why I am in here on watch."
When Precious Jade heard these words, which demonstrated distinctly that she was another Aroma, he consequently put on a smile and remarked： "I'll sit in here, so you had better set your mind at ease and go！"

"Since you remain in here, there's less need for me to go," resumed Musk Deer Month, "for we two can chat and play and laugh; and won't that be nice?"

"What can we two do? it will be awfully dull！ but never mind," Precious Jade rejoined; "this morning you said that your head itched, and now that you have nothing to do, I may as well comb it for you."

"Yes！ do so！" readily assented Musk Deer Month, upon catching what he suggested; and while still speaking, she brought over the dressing-case containing a set of small drawers and looking-glass, and taking off her ornaments, she dishevelled her hair; whereupon Precious Jade picked up the fine comb and passed it repeatedly through her hair; but he had only combed it three or five times, when he perceived Sunny Cloud Formation hurriedly walk in to fetch some money. As soon as she caught sight of them both： "You haven't as yet drunk from the marriage cup," she said with a smile full of irony, "and have you already put up your hair?"

"Now that you've come, let me also comb yours for you," Precious Jade continued. "I'm not blessed with such excessive good fortune！" Sunny Cloud Formation retorted, and as she uttered these words, she took the money, and forthwith dashing the portiere after her, she quitted the room.
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 03:33, 5 June 2021 (UTC)

=Sū Xiāo 苏潇=

宝玉在麝月身后，麝月对镜，二人在镜内相视。宝玉便向镜内笑道：“满屋
里就只是他磨牙。”麝月听说，忙向镜中摆手，宝玉会意，忽听“唿”一声帘子响，
晴雯又跑进来问道：“我怎么磨牙了？咱们倒得说说。”麝月笑道：“你去你的
罢，何苦来问人了。”晴雯笑道：“你又护着！你们那瞒神弄鬼的，我都知道。等
我捞回本儿来再说话。”说着，一径出去了。这里宝玉通了头，命麝月悄悄的伏
侍他睡下，不肯惊动袭人。一宿无话。

次日清晨起来，袭人已是夜间发了汗，觉得轻省了些，只吃些米汤静养。
宝玉放了心，因饭后走到薛姨妈这边来闲逛。

彼时正月内，学房中放年学，闺阁中忌针黹，都是闲时，因贾环也过来玩。
正遇见宝钗、香菱、莺儿三个赶围棋作耍，贾环见了也要玩。宝钗素昔看他也如
宝玉，并没他意；今儿听他要玩，让他上来坐了，一处玩。一磊十个钱，头一回，
自己赢了，心中十分欢喜。谁知后来接连输了几盘，便有些着急。赶着这盘正
该自己掷骰子，若掷个七点便赢，若掷个六点，下该莺儿，掷三点就输了。因拿
起骰子来狠命一掷，一个坐定了二，那一个乱转。莺儿拍着手只叫“幺”，贾环
便瞪着眼，“六”、“七”、“八”混叫。那骰子偏生转出幺来。贾环急了，伸手便抓
起骰子，然后就拿钱，说是个六点。莺儿便说：“明明是个幺。”

Precious Jade stood behind Musk Deer Month, who sat in front of the mirror. Their eyesight met in the mirror. Precious Jade smiled in the mirror, saying “She is the only one who gossips in this room.” Hearing this, Musk Deer Month hurried to wave her hands to the mirror, then Precious Jade got it. Suddenly, with the curtain clanging, Sunny Cloud Formation ran in and asked, “What have I done that you charge me of gossiping! Tell me please!” Musk Deer Month laughed, “You go about your business. Why bother to ask.” Sunny Cloud Formation sneered, ”You are defending him again! What you two have done under the table, I know it very well! I’ll argue with you after winning back my money!” Saying so, she went out directly. Precious Jade finished combing his hair, letting Musk Deer Month quietly wait on him to sleep down, refusing to disturb Aroma. They didn’t say a word that night.

The next morning, Aroma felt better, as she sweat during the night. She ate rice gruel and rest. Precious Jade felt relieved, so he walked to the place where Aunt Marshgrass lived after breakfast and hung around there.

It was in the first lunar month at that time, so there was no need for boys and girls to go to school and there was a ban for girls to sew. People were free, and Ring Merchant came to play together as well. Precious Hairpin, Wiselotus Potterymaker and Maid Oriole were playing go, and Ring Merchant wanted to join them after seeing it.

=Tāng Huì 汤惠=

宝钗见贾环急了，
便瞅莺儿，说道：“越大越没规距！难道爷们还赖你？还不放下钱来呢。”莺儿
满心委屈，见宝钗说，不敢出声，只得放下钱来，口内嘟囔说：“一个做爷的，还赖
我们这几个钱，连我也不放在眼里。前儿和宝二爷玩，他输了那些，也没着急，
下剩的钱还是几个小丫头子们一抢，他一笑就罢了。”宝钗不等说完，连忙喝住
了。贾环道：“我拿什么比宝玉？你们怕他，都和他好，都欺负我不是太太养
的。”说着便哭。宝钗忙劝他：“好兄弟，快别说这话，人家笑话你。”又骂莺儿。

正值宝玉走来，见了这般形况，问：“是怎么了？”贾环不敢则声。宝钗素知
他家规距：凡做兄弟的怕哥哥。却不知那宝玉是不要人怕他的。他想着：“兄
弟们一并都有父母教训，何必我多事，反生疏了。况且我是正出，他是庶出，饶
这样看待，还有人背后谈论，还禁得辖治了他？”更有个呆意思存在心里。你道
是何呆意？因他自幼姐妹丛中长大，亲姊妹有元春探春，叔伯的有迎春惜春，亲
戚中又有史湘云、林黛玉、薛宝钗等人，他便料定天地灵淑之气，只钟于女子，男
儿们不过是些渣滓浊沫而已。因此把一切男子都看成浊物，可有可无。只是父
亲、伯叔、兄弟之伦，因是圣人遗训，不敢违忤，只得听他几句。所以兄弟之间亦
不过尽其大概的情理就罢了，并不想自己是男子，须要为子弟之表率。是以贾
环等都不怕他，却怕贾母，才让他三分。

Observing how upset Ring Merchant was, Precious Hairpin Marshgrass shot her a reproving glance. “You are getting above yourself,” she said. “Is it likely that one of the young masters would cheat you? Put down your stake now.” The unfairness of this made Maid Oriole fume, but she dared not answer back. As she slapped down some cash she muttered under her breath: “Fancy a young gentleman cheating! Even I wouldn’t make such a fuss over a few cash. Last time we played with Precious Jade, he lost a lot but he didn’t mind. Even when the girls grabbed all he had left, he only laughed.” She would have gone on in this vein, but Precious Hairpin told her sharply to told her tongue. “How can I compare with Precious Jade?” whined Ring Merchant. “You keep in with him because you’re afraid of him, but you bully me because I’m a concubine’s son.” He started to snivel. “Don’t talk like that, dear cousin, or people will laugh at you,” Precious Hairpin advised him. She was scolding Maid Oriole again when Precious Jade walked in and, seeing this state of affairs, asked them what had happened. Ring Merchant lacked the courage to tell him. Precious Hairpin knew the Merchant family’s rule: a younger brother must show respect to an elder. What she did not realize was that Precious Jade did not want anyone to be afraid of him. He reasoned: We all have our parents to train us. Why should I butt in and strain relations with the younger ones? As I’m the wife’s son and he’s a concubine’s son, people will gossip even if I do nothing, much more so if I now try to control him. He had an even more fantastic idea — do you know what it was, Reader? As a result of being brought up among girls — his sisters First Spring and Seeking Spring, his cousins Spring Pleasure and Cherishing Spring of the Merchant’s house, and his distaff-cousins Fragrant-cloud History, Mascara Jade Forest and Precious Hairpin Marshgrass — he had come to the conclusion that while human beings were the highest form of creation, the finest essences of Nature were embodied in girls, men being nothing but the dregs and scum. To him, therefore, all men were filthy clods who might just as well not have existed. Only deference to Confucius, the greatest sage of all time who taught that fathers, uncles and brothers should be respected, made him keep on a fairly good footing with his brothers and boy cousins. It never entered his head that he as a man should set the younger boys a good example. This is why Ring Merchant and the others were not afraid of him, only yielding to him to some extent for fear of Grandma Merchant.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 06:03, 6 June 2021 (UTC)

Observing how upset Ring Merchant was, Precious Hairpin shot her a reproving glance. “You are getting above yourself,” she said. “Is it likely that one of the young masters would cheat you? Put down your stake now.” The unfairness of this made Maid Oriole fume, but she dared not answer back. As she slapped down some cash she muttered under her breath: “Fancy a young gentleman cheating! Even I wouldn’t make such a fuss over a few cash. Last time we played with Precious Jade, he lost a lot but he didn’t mind. Even when the girls grabbed all he had left, he only laughed.” She would have gone on in this vein, but Precious Hairpin told her sharply to told her tongue. “How can I compare with Precious Jade?” whined Ring Merchant. “You keep in with him because you’re afraid of him, but you bully me because I’m a concubine’s son.” He started to snivel. “Don’t talk like that, dear cousin, or people will laugh at you,” Precious Hairpin advised him.

She was scolding Maid Oriole again when Precious Jade walked in and, seeing this state of affairs, asked them what had happened. Ring Merchant lacked the courage to tell him. Precious Hairpin knew the Merchant family’s rule: a younger brother must show respect to an elder. What she did not realize was that Precious Jade did not want anyone to be afraid of him. He reasoned: We all have our parents to train us. Why should I butt in and strain relations with the younger ones? As I’m the wife’s son and he’s a concubine’s son, people will gossip even if I do nothing, much more so if I now try to control him. He had an even more fantastic idea — do you know what it was, Reader? As a result of being brought up among girls — his sisters First Spring and Seeking Spring, his cousins Spring Pleasure and Cherishing Spring of the Merchant’s house, and his distaff-cousins Fragrant-cloud History, Mascara Jade and Precious Hairpin — he had come to the conclusion that while human beings were the highest form of creation, the finest essences of Nature were embodied in girls, men being nothing but the dregs and scum. To him, therefore, all men were filthy clods who might just as well not have existed. Only deference to Confucius, the greatest sage of all time who taught that fathers, uncles and brothers should be respected, made him keep on a fairly good footing with his brothers and boy cousins. It never entered his head that he as a man should set the younger boys a good example. This is why Ring Merchant and the others were not afraid of him, only yielding to him to some extent for fear of Grandma Merchant.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 07:09, 9 June 2021 (UTC)

=Táng Qǐzhōu 唐启洲 Mr.=

现今宝钗生怕宝玉教训他，倒没意思，便连忙替贾环掩饰。宝玉道：“大正月里，哭什么？这里不好，到别处玩去。你天天念书，倒念糊涂了。譬如这件东西不好，横竖那一件好，就舍了这件取那件。难道你守着这件东西哭会子就好了不成？你原来是取乐的，倒招的自己烦恼，不如快去呢。”贾环听了，只得回来。

赵姨娘见他这般，因问：“是那里垫了踹窝来了？”贾环便说：“同宝姐姐玩来着，莺儿欺负我，赖我的钱，宝玉哥哥撵我来了。”赵姨娘啐道：“谁叫你上高台盘了？下流没脸的东西！那里玩不得？谁叫你跑了去讨这没意思？”正说着，可巧凤姐在窗外过，都听在耳内，便隔窗说道：”大正月里，怎么了？兄弟们小孩子家，一半点儿错了，你只教导他，说这样话做什么？凭他怎么去，还有太太老爷管他呢，就大口家啐他？他现是主子，不好，横竖有教导他的人，与你什么相干？环兄弟，出来！跟我玩去。”

贾环素日怕凤姐，比怕王夫人更甚，听见叫他，忙的出来。赵姨娘也不敢出声。凤姐向贾环说道：“你也是个没性气的东西！时常说给你：要吃，要喝，要玩，要笑，你爱同那一个姐姐妹妹哥哥嫂子玩，就同那个玩。你总不听我的话，反叫这些人教的歪心邪意，狐媚子霸道的。自己又不尊重，要往下流里走，安着坏心，还只怨人家偏心呢。输了几个钱，就这么样儿！”

To prevent Precious Jade from scolding Ring Merchant, which would only have made matters worse, Precious Hairpin covered up for him quickly.“The first lunar month is not the time for crying,” said Precious Jade. "If you don’t like it here, find somewhere else to play. All that studying every day seems to have made you stupid. Suppose you find something bad but another one good, just drop the first one and go for the second one. Can you improve something you dislike by sticking to it and crying over it? You came here to have a good time. Since you don’t feel happy, go somewhere else to enjoy yourself. Why do you have to make yourself uneasy? You'd better take yourself off, quick.”Ring Merchant went back to his mother.

At sight of him she asked, “Who’s been treating you so badly this time?” As he did not answer, she repeated the question. “I was playing with Precious Hairpin. Maid Oriole bullied me and cheated my money. Then Precious Jade turned me out.”His mother cursed in disgust. “Shameless little brat! Who told you to put yourself forward? Is there nowhere else for you to play? Why did you go looking for trouble?”Splendid Phoenix, who was passing outside, overheard this this and said through the window: “What’s this rumpus in the middle of the first lunar month? Ring is only a child. If he makes some small mistake you can teach him. Why did you say like that? No matter where he goes, the old are there to keep him in order. Imagine spitting at him! He’s one of the young masters, and if he does misbehave there are people to correct him -- what business is it of yours? Come on Ring, come out and play with me.”

Ring Merchant stood in even greater fear of Splendid Phoenix than of Lady Wang. He hurried to go out to obey and his mother dared raise no objection.“You’re too spineless,” Splendid Phoenix scolded. “I’ve told you frequently that you should eat or drink whatever you like and play with any of the girls or boys. But instead of doing what I said, you let other people warp your mind and teach you these sneaky ways. You do not respect yourself and even lower yourself. You behave spitefully and then complain that everybody else is unfair! How much did you lose to make you take on like this?”--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 08:30, 29 May 2021 (UTC)

=Téng Bìxiá 滕璧霞=

因问贾环：“你输了多少
钱？”贾环见问，只得诺诺的说道：“输了一二百钱。”凤姐道：“亏了你还是爷们，
输了一二百钱就这样！”回头叫：“丰儿，去取一吊钱来，姑娘们都在后头玩呢，把
他送了玩去。你明儿再这样下流狐媚子，我先打了你，再叫人告诉学里，皮不揭
了你的！为你这不尊重，你哥哥恨得牙痒痒，不是我拦着，窝心脚把你的肠子窝
出来呢！”喝令：“去罢！”贾环诺诺的，跟了丰儿，得了钱，自去和迎春等玩去，不
在话下。

且说宝玉正和宝钗玩笑，忽见人说：“史大姑娘来了。”宝玉听了，抬身就
走，宝钗笑道：“等着，咱们两个一齐走，瞧瞧他去。”说着，下了炕，同宝玉来至贾
母这边。只见史湘云大笑大说的，见了他两个，忙问好厮见。正值林黛玉在旁，
因问宝玉：“在那里来？”宝玉便道：“在宝姐姐家来。”黛玉冷笑道：“我说呢，亏
在那里绊住，不然早就飞了来了。”宝玉道：“只许同你玩，替你解闷儿；不过偶然
去他那里一遭，就说这话。”黛玉道：“好没意思的话！去不去，管我什么事？又
没叫你替我解闷儿，可许你从此不理我呢!”说着，便赌气回房去了。

Splended Phoenix asked Ring Merchant:" how much have you lost?" Hearing this, he answered cautiously:" a hundred or two hundred dollars。” "Anyhow you are still a man, how can you be like this just because of losing a hundred or two hundred dollars!" Splended Phoenix said and then turned back, shouting:" Abundance, go to fetch a sum of money. Girls playing in backyard, you just take him there.Ring Merchant, I must stike you first and then tell the school which must rip you skin out if you are still shamless to do this next time. For your disrespect, your brother's teeth are itching with hate. Without my stopping him, he would have got your intestines out." Splended Phoenix scolded:" go away!" Getting the money, he followed Abudance obediently and played with Spring Pleasure.

Just then Precious Jade was making fun of Precious Hairpin , when suddenly someone said, "Here comes Miss Shi." Hearing it, he stood up, ready to go. Precious Hairpin said with a smile, "Wait, let's go together and see her"She got off the bed and came to Grandma Merchant with Precious Jade. Seeing them Fragrant-cloud History was laughing and saying loudly, hurry to greet them. Just then Mascara Jade was there, and she asked Precious Jade:" where are you come from?" "Just From Precious Hairpin`s house." said Precious Jade. Precious Hairpin said with a sneer: "You should have stayed there, or you would have flown here." said Precious Jade, "I can only play with you to relieve your boredom. I go to her house only once, and you say so." "What nonsense!" said Mascara Jade . What does it matter to me whether you go or not? And I didn't ask you to relieve my boredom ;you may never talk to me again!" "Then she went back to her room in a fit of pique. --[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 16:41, 1 June 2021 (UTC)

Sister Phoenix asked Ring Merchant:" how much have you lost?" Hearing this, he answered cautiously:" one hundred or two hundred dollars.” "Anyhow you are still a man, how can you be like this just because of losing one hundred or two hundred dollars!" Sister Phoenix said and then turned back, shouting:" Abundance, go to fetch a sum of money. Girls playing in the backyard, you just take him there. Ring Merchant, I must strike you first and then tell the school which must rip your skin out if you are still shameless to do this next time. For your disrespect, your brother's teeth are itching with hate. Without my stopping him, he would have got your intestines out." Sister Phoenix scolded:" go away!" Getting the money, he followed Abundance obediently and played with Spring Pleasure.

Just then Precious Jade was making fun of Precious Hairpin, when suddenly someone said, "Here comes Miss History." Hearing it, he stood up, ready to go. Precious Hairpin said with a smile, "Wait, let's go together and see her." She got off the bed and came to Grandma Merchant with Precious Jade. Fragrant-cloud History was laughing and saying loudly. Seeing them，she hurried to greet them. Just then Mascara Jade was there, and she asked Precious Jade:" where are you come from?" "Just From Precious Hairpin`s house." said Precious Jade. Mascara Jade said with a sneer: "No surprise. You must have stayed there. Otherwise, you would have already flown here." "I can only play with you to relieve your boredom. I go to her house only once, and you say so." said Precious Jade. "What nonsense!", said Mascara Jade, “What does it matter to me whether you go or not? And I didn't ask you to relieve my boredom; You can never talk to me again!" Then she went back to her room in a fit of pique.
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 05:14, 9 June 2021 (UTC)

=Wáng Chǔyí 王楚仪=

宝玉忙跟了来，问道：“好好的又生气了？就是我说错句话，你到底也还坐
在那里，和别人说笑一会子，又自己来纳闷。”黛玉道：“你管我呢！”宝玉笑道：
“我自然不敢管你，只是你自己遭塌坏了身子呢。”黛玉道：“我作践了我的身
子，我死我的，与你何干？”宝玉道：“何苦来，大正月里，‘死’了‘活’了的。”黛玉
道：“偏说‘死’！我这会子就死！你怕死，你长命百岁的如何？”宝玉笑道：“要
像只管这样的闹，我还怕死呢？倒不如死了干净。”黛玉忙道：“正是了，要是这
样闹，不如死了干净！”宝玉道：“我说自家死了干净，别要错听了赖人。”正说
着宝钗走来，说：“史大妹妹等你呢。”说着，便推宝玉走了。这里黛玉越发气
闷，只向窗前流泪。

没两盏茶时，宝玉仍来了。黛玉见了，越发抽抽噎噎的哭个不住。宝玉见
了这样，知难挽回，打叠起千百样的款语温言来劝慰。不料自己未张口，只听黛
玉先说道：“你又来作什么？死活凭我去罢了！横竖如今有人和你玩，要比我
又会念，又会作，又会写，又会说会笑，又怕你生气，拉了你去，你又来作什么？”
宝玉听了，忙上前悄悄的说道：“你这个明白人，难道连‘亲不隔疏，后不僭先’
也不知道？我虽糊涂，却明白这两句话。头一件，咱们是姑舅姊妹，宝姐蛆是两
姨姊妹，论亲戚也比你疏。第二件，你先来，咱们两个一桌吃，一床睡，自小儿一
处长大的，他是才来的，岂有个为他疏你的？”

PreciousJade promptly followed her there.“Why lose your temper for no reason at all?”he protested.“Even if I said something wrong,you might at least sit there and chat with the others for a bit, instead of sulking alone.” “What I do is none of your business.” “Of course not, but I can’t bear to see you ruining your health.” “If I ruin my health and die, that’s my affair. Nothing to do with you.” “Why talk about ‘dying’ or ‘living’ just after the New Year?” “I shall, so there!I’m ready to die any minute.If you’re so afraid of death,you can live to be a hundred---how about that?” “If you just carry on like this all the time, I’m not afraid.”He smiled.“Death would be better.” “Exactly!”she retorted swiftly.“If I carry on like this it would be better for me to die.” “I meant better for me to be dead.Why you twist my words?” As they were bickering,Precious Hairpin Marshgrass slipped in.“Cousin History is waiting for you.” She propelled Precious Jade out.More wretched than ever, Mascara Jade sat down by her window and shed tears of rage. But in less time than it takes to drink two cups of tea ,Precious Jade was back again.The sight of him made her sob convulsively. He knew it would be hard to pacify her and was prepared to coax her with all sorts of blandishments and kind words.But she forestalled him by asking:“ What have you come back for? You’ve got a new playmate now, someone better than I am at reading,writing and versifying,better at talking and laughing with you too. Someone who dragged you away for fear you might lose your temper.So why come back?Why not leave me to die?” Precious Jade stepped to her side and said softly,“Someone of your intelligence should know that distant relatives can’t come between close ones,and new friends can’t take the place of old.Dense as I am,I know that. Look,you’re the daughter of my father’s sister,while Precious Hairpin Marshgrass’s a cousin on my mother’s side—you’re more closely related to me than she is.Besides,you came here first,we’ve eaten at the same table,slept in the same bed and grown up together,while she has only recently arrived.How could I be less close to you because of her?”
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 13:21, 1 June 2021 (UTC)

PreciousJade promptly followed her there.“Why lose your temper for no reason at all?”he protested.“Even if I said something wrong,you might at least sit there and chat with others for a bit, instead of sulking alone.” “What I do is none of your business.” “Of course not, but I can’t bear to see you ruining your health.” “If I ruin my health and die, that’s my affair. Nothing to do with you.” “Why talk about ‘dying’ or ‘living’ just after the New Year?” “I shall, so there!I’m ready to die any minute.If you’re so afraid of death,you can live to be a hundred---how about that?” “If you just carry on like this all the time, I’m not afraid.”He smiled.“Death would be better.” “Exactly!”she retorted swiftly.“If I carry on like this it would be better for me to die.” “I meant better for me to be dead.Why you twist my words?” As they were bickering,Precious Hairpin Marsh grass slipped in.“Cousin History is waiting for you.” She propelled Precious Jade out.More wretched than ever, Mascara Jade sat down by her window and shed tears of rage. But in less time than it takes to drink two cups of tea, Precious Jade was back again.The sight of him made her sob convulsively. He knew it would be hard to pacify her and was prepared to coax her with all sorts of blandishments and kind words.But she forestalled him by asking:“ What have you come back for? You’ve got a new playmate now, someone better than I am at reading,writing and versifying,better at talking and laughing with you too. Someone who dragged you away for fear you might lose your temper.So why come back?Why not leave me to die?” Precious Jade stepped to her side and said softly,“Someone of your intelligence should know that distant relatives can’t come between close ones,and new friends can’t take the place of old.Dense as I am,I know that. Look,you’re the daughter of my father’s sister,while Precious Hairpin Marsh grass’s a cousin on my mother’s side—you’re more closely related to me than she is.Besides,you came here first,we’ve eaten at the same table,slept in the same bed and grown up together,while she has only recently arrived.How could I be less close to you because of her?”--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 15:48, 1 June 2021 (UTC)

=Wáng Jìngyí 王静怡=

黛玉啐道：“我难道叫你疏他？我
成了什么人了呢？我为的是我的心！”宝玉道：“我也为的是我的心。难道你就
知道你的心，不知道我的心不成？’黛玉听了，低央不语，半日说道：“你只怨人行
动嗔怪你了，你再不知道你怄人难受。就拿今日天气比，分明今日冷些，怎么你
倒脱了青肷披风呢？”宝玉笑道：“何尝不穿着？见你一恼，我一暴燥，就脱了。”
黛玉叹道：“回来伤了风，又该饿着吵吃的了。”

二人正说着，只见湘云走来，笑道：“爱哥哥，林姐姐，你们天天一处玩，我
好容易来了，也不理我一理儿。”黛玉笑道：“偏是咬舌子爱说话，连个‘二’哥哥
也叫不上来，只是‘爱’哥哥‘爱’哥哥的。回来赶围棋儿，又该你闹‘幺爱三’
了。”宝玉笑道：“休学惯了，明儿连你还咬起来呢。”湘云道：“他再不放人一点
儿，专挑人的不是。你自己便比世人好，也不犯着见一个打趣一个。我指出一
个人来，你敢挑他么，我就服你。”黛玉便问：“是谁？”湘云道：“你敢挑宝姐姐的
短处，就算你是个好的。”黛玉听了冷笑道：“我当是谁，原来是他！我那里敢挑
他呢？”宝玉不等说完，忙用话分开。湘云笑道：“这一辈子我自然比不上你。
我只保佑着明儿得一个咬舌儿林姐夫，时时刻刻你可听‘爱’呀‘厄’的去，阿弥
陀佛，那时才现在我眼里呢！”说的众人一笑，湘云忙回身跑了。要知端详，且听
下回分解。

“Do I want you to be less close to her? What do you take me for? It’s just that my feelings are hurt.”“And it’s your feelings that concern me. Do you only know your own heart and not mine?”Mascara Jade lowered her head and was silent. After a pause she said: “You blame other people for finding fault with you, without realizing how provoking you can be.Take today, for example. Why leave off your fox-fur cape when it’s turned so cold?”Precious Jade laughed. “I was wearing it till you grew angry. Then I got so hot and bothered that I took it off.”“Well,” she sighed, “if you catch cold there’ll be the devil to pay.”
They were interrupted by Fragrant-cloud’s arrival. “Why, LOVE Brother and Sister Lin!” she cried cheerfully. “You can be together every day, but it’s rarely I have a chance to visit you; yet you pay no attention to poor little me.”“The lisper loves to rattle away,” said Mascara Jade with a laugh. “Fancy saying LOVE instead of er like that. I suppose, when we start dicing, you’ll be shouting one, love, three, four, five....”“If you copy her long enough, you’ll soon be talking the same way,” Precious Jade teased.“How you do pick on one!” cried Fragrant-cloud. “Always finding fault! Even if you are better than all the rest of us, there’s no need to go making fun of everyone else. But I know someone you’d never dare find fault with. If you do, I’ll really respect you.”“Who’s that?” Mascara Jade promptly asked. “Dare you pick fault with Cousin Precious Hairpin? If so, good for you. I may not be up to you, but you’ve met your match in her.”“Oh, her." Mascara Jade snorted. “I wondered whom you meant. How could I ever presume to find fault with her?”Precious Jade tried to stop them, but Fragrant-cloud rattled on: “Naturally I’ll never come up to you in this lifetime. I just pray that you’ll marry a husband who talks like me, so that you hear nothing but ‘love’ the whole day long. Amitabha! May I live to see that day!”That set everyone laughing, and Fragrant-cloud turned and ran out.To know the sequel, you must read the next chapter.--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 15:45, 1 June 2021 (UTC)

=Wáng Qìnyú 王沁瑜=

◎第二十一回贤袭人娇嗔箴宝玉俏平儿软语救贾琏

话说史湘云跑了出来，怕林黛玉赶上，宝玉在后忙说：“绊倒了！那里就赶
上了？”林黛玉赶到门前，被宝玉叉手在门框上拦住，笑道：“饶他这一遭儿罢。”
林黛玉拉着手说道：“我要饶了云儿，再不活着！”湘云见宝玉拦着门，料黛玉不
能出来，便立住脚，笑道：“好姐姐，饶我这遭儿罢。”却值宝钗来在湘云身背后，
也笑道：“我劝你两个看宝兄弟面上，都撂开手罢。”黛玉道：“我不依。你们是
一气的，都戏弄我不成！”宝玉劝道：“谁敢戏弄你，你不打趣他，他焉敢说你。”
四人正难分解，有人来请吃饭，方往前边来。那天已掌灯时分，王夫人、李纨、凤
姐、迎春、探春、惜春姊妹等．都往贾母这边来。大家闲话了一回，各自归寝。湘
云仍往黛玉房中安歇。

宝玉送他二人到房，那天已二更多时，袭人来催了几次，方回自己房中来
睡。次早，天方明时，便披表靸鞋往黛玉房中来，却不见紫鹃翠缕二人，只有他
姊妹两个尚卧在衾内。那黛玉严严密密裹着一幅杏子红绫被，安稳合目而睡。
那史湘云却一把青丝，拖于枕畔，被只齐胸，一弯雪白的膀子，撂于被外，又带着
两个金镯子。

Prudent Aroma Gently Takes Precious Jade to Pretty Patience Quietly Comes to Romance Merchant's Rescue

As Fragrant-cloud ran out of the room to escape Mascara Jade, Precious Jade called after her, “Mind you don’t fall! She can’t catch you.” He barred Mascara Jade’s way at the door and urged with a chuckle, “Do let her off this time!”“I’ll kill myself first,” she cried, tugging at his arm. Seeing Precious blocking the doorway and Mascara Jade unable to get past, Fragrant-cloud stopped and called with a laugh, “Let me off, dear cousin, please! Just this once!”Precious Hairpin who had come up behind her chimed in, “Do make it up, both of you, for Precious’s sake.” “Not me!” cried Mascara-Jade, “Are you all ganging up to make fun of me?” “Who dares make fun of you?” countered Precious Jade, “She wouldn’t if you hadn’t teased her first.” The four of them were still at loggerheads when a summons to dinner arrived and they went through the dusk to the Lady Dowager’s quarters where Lady Wang, Silk Plum, Phoenix and the three Merchant girls had already assembled. After dinner they chatted for a while before retiring for the night, and Fragrant-cloud went back to Mascara Jade’s rooms.

Precious Jade escorted them there. It was after the second watch and Aroma had to hurry him several times before he would return to his own room to sleep. As soon as it was light next morning he scrambled into his clothes and hurried over in his slippers to Mascara Jade’s quarters. Nightingale and Kingfisher were nowhere to be seen, and his two cousins were still sleeping. Mascara Jade lay peacefully with closed eyes, snugly wrapped in an apricot-red silk quilt, while Fragrant-cloud’s black hair had tumbled all over the pillow, her quilt barely reached her shoulders, and she had flung one white arm adorned with two gold bracelets outside the covers.

=Wáng Zǐhán 王子涵=

宝玉见了叹道：“睡觉还是不老实！回来风吹了，又嚷肩窝疼
了。”一面说，一面轻轻的替他盖上。林黛玉早已醒了，觉得有人，就猜着定是宝
玉，因翻身一看，果不出所料。因说道：“这早晚就跑过来作什么？”宝玉说：“这
早晚还早呢！你起来瞧瞧。”黛玉道：“你先出去，让我们起来。”

宝玉出至外间。黛玉起来，叫醒湘云，二人都穿了衣裳。宝玉又复进来，
坐在镜台旁边。只见紫鹃雪雁进来伏侍梳洗。湘云洗了脸，翠缕便拿残水要
泼，宝玉道：“站着，我趁势洗了就完了，省得又过去费事。”说着，便走过来，弯腰
洗了两把。紫鹃递过香皂去，宝玉道：“这盆里就不少，不用搓了。”再洗了两把，
便要手巾。翠缕道：“还是这个毛病儿，多早晚才改呢。”

宝玉也不理他，忙忙的要青盐擦了牙，漱了口，完毕，见湘云已梳完了头，便
走过来笑道：“好妹妹，替我梳上头。”湘云道：“这可不能了。”宝玉笑道：“好妹
妹，你先时怎么替我梳了呢？”湘云道：“如今我忘了，不会梳呢。”宝玉道：“横竖
我不出门，又不戴冠子、勒子，不过打几根辫子就完了。”说着，又千“妹妹”万
“妹妹”的央告。

“She fidgets even in her sleep,” Precious Jade sighed. “If there’s a draught she’ll be complaining of a stiff neck again.” He gently pulled up the covers.
Mascara Jade, awake now, had sensed someone’s presence and guessed that it was Precious Jade. Looking round to make sure she asked:
“What are you doing here so early?”
“Early? Get up and see what time it is.”
“You’d better go outside if you want us to get up.
Precious Jade withdrew to the sitting-room while Mascara Jade roused Fragrant-cloud. As soon as they were up and dressed he rejoined them and sat by the dressing-table watching as Nightingale and Snowgoose helped them with their toilet.
When Fragrant-cloud finished washing. Kingfisher picked up the basin to empty it.
“Wait!” cried Precious Jade, “I may as well wash here to save the trouble of going back to my room. He went over and leant down to wash his face but declined Nightingale’s offer of soap, explaining, “There’s plenty in here, I don’t need any more.” After dabbling for a while he asked for a towel.
“Still up to your old tricks,” teased Kingfisher, “Will you never grow up?”
Ignoring this, Precious Jade called for salt to brush his teeth and rinse his mouth. This done, he saw that Fragrant-cloud had finished doing her hair, so he went over and begged her: “Good cousin, do my hair for me, will you?”
“I can’t,” she said.
“Dear cousin, you did before,” he coaxed with a smile.
“Well, now I’ve forgotten how to.”
“I’m not going out today anyway, and I’m not going to wear a cap, he persisted. “Just plait it anyhow.”
He coaxed and wheedled her with endless terms of endearment.

“She fidgets even in her sleep,” Precious Jade sighed. “If there’s a draught she’ll be complaining about a sore shoulder.” He gently pulled up the covers. Mascara Jade, awake now, had sensed someone’s presence and guessed that it was Precious Jade. Looking round to make sure she asked: “What are you doing here so early?” “Early? Get up and see what time it is.” “You’d better go outside if you want us to get up. Precious Jade withdrew to the sitting-room while Mascara Jade roused Fragrant-cloud. As soon as they were up and dressed he rejoined them and sat by the dressing-table watching as Nightingale and Snowgoose helped them with their washing. When Fragrant-cloud finished, Kingfisher picked up the basin to empty it. “Wait!” cried Precious Jade, “I may as well wash here to save the trouble of going back to my room. He went over and leant down to wash his face but declined Nightingale’s offer of soap, explaining, “There’s plenty in here, I don’t need any more.” After dabbling for a while he asked for a towel. “Still up to your old tricks,” teased Kingfisher, “When will you get rid of your bad habits?” Ignoring this, Precious Jade called for salt to brush his teeth and rinse his mouth. This done, he saw that Fragrant-cloud had finished doing her hair, so he went over and begged her: “Good cousin, do my hair for me, will you?” “I can’t,” she said. “Dear cousin, you did before,” he coaxed with a smile. “Well, now I’ve forgotten how to.” “I’m not going out today anyway, and I’m not going to wear a cap, he persisted. “Just plait it anyhow.” He coaxed and wheedled her with endless terms of endearment.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 03:07, 14 June 2021 (UTC)

=Wǔ Sīyí 伍斯仪=

湘云只得扶过他的头来一一梳篦。在家不戴冠子，并不总角，
只将四围短发编成小辫，往顶心发上归了总，编一根大辫，红绦结住。白发顶至
辫梢，一路四颗珍珠，下面有金坠脚。湘云一面编着，一面说道：“这珠子只三颗
了，遮一颗不是的，我记得是一样的，怎么少了一颗？”宝玉道：“丢了一颗。”湘
云道：“必定是外头去，掉下来，不防被人拣了去，倒便宜他。”黛玉旁边冷笑道：
“也不知是真丢，也不知是给了人镶什么戴去了。”宝玉不答，因镜台两边都是
妆奁等物，顺手拿起来赏玩，不觉顺手拈了胭脂，意欲往口边送，又怕湘云说，正
犹豫间，湘云在身后伸过手来，“啪”的一下将胭脂从他手中打落，说道：“不长
进的毛病儿，多早晚才改！”

一语未了，只见袭人进来，见这光景，知是梳洗过了，只得回来自己梳洗。
忽见宝钗走来，因问：“宝兄弟那里去了？”袭人冷笑道：“‘宝兄弟’那里还有在
家的工夫！”宝钗听说，心中明白。又听袭人叹道：“姊妹们和气，也有个分寸礼
节，也没个黑家白日闹的！凭人怎么劝，都是耳旁风。”宝钗听了，心中暗忖道：
“倒别看错了这个丫头，听他说话，倒有些识见。”宝钗便在炕上坐了，慢慢的闲
言中，套问他年纪家乡等语，留神窥察其言语志量，深可敬爱。

Fragrant Cloud took hold of his head and combed his hair. He did not wear cap at home, so she simply plaited the short hairs round his head and looped them together on top in one big queue tied with a crimson braid. This braid was decorated with four pearls and had a golden pendant at the end.As she braided his hair, she said, “There are only three of these pearls left, this one doesn’t belong to the set. I remember they used to be the same. Why is one missing?” “I lost it.” Precious Jade answered. “You must have dropped it when you were out. How lucky for whoever picked it up!” Mascara Jade smiled ironically when washing her hands nearby. “Who knows whether it was lost or given to someone to mounted in a trinket?” Instead of answering, Precious Jade started playing with the toilet articles on the dressing-table by the mirror, absent-mindedly picking up some rouge. He was wondering if he could taste it without Fragrant-cloud History ant noticing when she reached out from behind him and, holding his queue with one hand, with the other knocked the rouge out of his grasp. “Are you never going to change your silly ways?” she demanded.

Just then Aroma entered the room, but withdrew on seeing that Precious Jade had obviously finished his toilet. She went back and was attending to her own when in came Precious Virtual and asked her where he was. “He’s hardly ever at home nowadays,” replied Aroma bitterly. Precious Virtual understood. The maid went on with a sigh, “It’s all right to be fond of cousins, but still there’s a limit. They shouldn’t play about together day and night. But it’s no use our talking, we just waste our breath.” “Why,” thought Precious Virtual, judging by what she says this maid shows excellent sense. She sat down on the bed to ask Aroma her age and where she came from, carefully sounding her out on various subjects and receiving a most favorable impression.

=Wú Xīnxīn 吴欣欣=

一时宝玉来了，宝钗方出去。宝玉便问袭人道：“怎么宝姐姐和你说的这
么热闹，见我进来就跑了？”问一声不答，再问时，袭人方道：“你问我么？我那里
知道你们的原故。”宝玉听了这话，见他脸上气色非往日可比，便笑道：“怎么又
动了真气了？”袭人冷笑道：“我那里敢动气？只是你从今别进这屋子了，横竖
有人伏侍你，再不必来支使我。我仍旧还伏侍老太太去。”一面说，一面便在炕
上合眼倒下。宝玉见了这般景况，深为骇异，禁不住赶来劝慰，那袭人只管合着
眼不理。宝玉无了主意，因见麝月进来，便问道：“你姐姐怎么了？”麝月道：“我
知道么？问你自己便明白了。”宝玉听说，呆了一回，自觉无趣，便起身嗳道：“不
理我罢，我也睡去。”说着，便起身下炕，到自己床上睡下。

袭人听他半日无动静，微微的打齁，料他睡着，便起来拿一领斗篷来替他
盖上，只听“唿”的一声，宝玉便掀过去，仍合目装睡。袭人明知其意，便点头冷
笑道：“你也不用生气，从此后，我也只当哑了，再不说你一声如何？”宝玉禁不住
起身问道：“我又怎么了？你又劝我？你劝也罢了，刚才又没劝，我一进来，你就
不理我，赌气睡了。我还摸不着是为什么，这会子你又说我恼了。我何尝听见
你劝我的是什么话儿？”袭人道：“你心里还不明白？还等我说呢！”

=Yāo Yáng 么阳=

正闹着，贾母遣人来叫他吃饭，方往前边来，胡乱吃了几碗饭，仍回至自己
房中。只见袭人睡在外头炕上，麝月在旁抹骨牌。宝玉素知麝月与袭人亲厚，
一并连麝月也不理，揭起软帘，自往里间来。麝月只得跟进来。宝玉便推他出
去，说：“不敢惊动你们。”麝月只得笑着出来，唤两个小丫头进来。

宝玉拿一本书，歪着看了半天，因要茶，抬头只见两个小丫头在地下站着，
一个大些的，生得十分清秀，宝玉便问：“你叫什么名字？”那丫头答道：“叫蕙
香。‘宝玉又问：“是谁起的这个名字？”慧香道：“我原叫‘芸香’，是花大姐姐改
的。”宝玉道：“正经该叫‘晦气’罢咧，什么‘慧香’呢！”又问：“你姊妹几个？”蕙
香道：“四个。”宝玉道：“你第几个？”慧香道：“第四。”宝玉道：“明日就叫‘四
儿’，不必什么‘蕙’香‘兰’气的，那一个配比这些花，没的玷辱了好名好姓的。”
一面说，一面命他倒了茶来吃。袭人和麝月在外间听了半日，抿嘴儿笑。

这一日，宝玉也不出房门，自己闷闷的，只不过拿书解闷，或弄笔墨。也不使
唤众人，只叫四儿答应。谁知这四儿是个乖巧不过的丫头，见宝玉用他，他便变
尽方法笼络宝玉。至晚饭后，宝玉因吃了两杯酒，眼饧耳热之余，若往日则有袭
人等大家嘻笑有兴，今日却冷清清的，一人对灯，好没兴趣。待要赶了他们去，
又怕他们得了意，以后越来劝了；若拿出作上人的模样镇唬他们，似乎无情太
甚。
When frolicking, someone sent by Grandma Merchant inform him of meal. So he came to the front room and ate something casually. Back to his room, he saw Aroma slept on the heatable brick bed outside while Musk Deer Month were playing Bone Card next her. Knowing these two girls had a good relationship, he ignored Musk Deer Month, lifted the soft curtain and came inside. He had to follow up. Precious Jade pushed her out and said, "Don't dare to disturb you." Musk Deer Moon smiled with meekness and called two little girl to come in.
Precious Jade took a book and read it slantingly for a long time. Tea- wanted Preicous Jade looked up and saw two little girls standing. One of them was elder and born very beautiful. Precious Jade asked, "What's your name?" That girl replied: " Rolfe Fragnance (Cymbidium faberi Rolfe)" Precious Jade asked again: "Who gave you this name? Rolfe Fragnance said: "My original name was'Ruta Fragnance(Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: "Seriously? it should be called ‘bad luck’, not ‘Roofe Fragnance’. How many sisters do you have?" Rolfe Fragnance said: “Four.” Precious Jade said: "Which one are you?" Rolfe Fragnance said: "Fourth. “ Precious Jade said, "Tomorrow you will be called ‘Fourthy’ .There is no need for you to be called with those flower names like “Ruta graveolens L” or “Cymbudium”, which is a waste of those beautiful flower names ." He ordered her to pour tea to eat. Aroma and Musk Deer Moon listened outside for a long time, smiling in a degree of moderation. .
On this day, Precious Jade didn't leave the room, so he was bored, just taking a book to relieve his boredom, or using pen and ink to practice calligraphy. He didn't call everyone, just asked Fourthy to serve around. Unexpectedly, Fourthy is an obedient girl. Seeing Precious used her, she changed her way to win over him. After dinner, He drunk two glasses of liquor, while his eyes and ears were hot, Aroma should have waited for everyone to laugh heartily if she were here, but today was deserted. Precious Jade thought to himself: “ One person was really not interesting under the light. When I drove them away, I was afraid that they would be proud and preach me more afterward. If I were to be a severe master, it would seem to be too ruthless.”

When frolicking, someone sent by Grandma Merchant inform him of meal. So, he came to the front room and ate something casually. Back to his room, he saw Aroma slept on the heatable brick bed outside while Musk Deer Month were playing Bone Card next her. Knowing these two girls had a good relationship, he ignored Musk Deer Month, lifted the soft curtain and came inside. He had to follow up. Precious Jade pushed her out and said, "Don't dare to disturb you." Musk Deer Moon smiled with meekness and called two little girls to come in.
Precious Jade took a book and read it slantingly for a long time. Tea- wanted Precious Jade looked up and saw two little girls standing. One of them was elder and born very beautiful. Precious Jade asked, "What's your name?" That girl replied: " Rolfe Fragrance (Cymbidium faber Rolfe)"Precious Jade asked again: "Who gave you this name? Rolfe Fragrance said: "My original name was Ruta Fragrance (Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: "Seriously? it should be called ‘bad luck’, not ‘Roof Fragrance’. How many sisters do you have?" Rolfe Fragrance said: “Four.” Precious Jade said: "Which one are you?" Rolfe Fragrance said: "Fourth. “Precious Jade said, "Tomorrow you will be called ‘Fourthly’. There is no need for you to be called with those flower names like “Ruta graveolens L” or “Cymbudium”, which is a waste of those beautiful flower names ." He ordered her to pour tea to eat. Aroma and Musk Deer Moon listened outside for a long time, smiling in a degree of moderation. .
On this day, Precious Jade didn't leave the room, so he was bored, just taking a book to relieve his boredom, or using pen and ink to practice calligraphy. He didn't call everyone, just asked Fourthly to serve around. Unexpectedly, fourthly is an obedient girl. Seeing Precious used her, she changed her way to win over him. After dinner, He drunk two glasses of liquor, while his eyes and ears were hot, Aroma should have waited for everyone to laugh heartily if she were here, but today was deserted. Precious Jade thought to himself: “One person was really not interesting under the light. When I drove them away, I was afraid that they would be proud and preach me more afterward. If I were to be a severe master, it would seem to be too ruthless.”
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])

=Yì Míngxiá 易明霞=

说不得横了心只当他们死了，横竖自家也要过的。便权当他们死了，毫无
牵挂，反能怡然自悦。因命四儿剪烛烹茶，自己看了一回《南华经》，至外篇《胠
箧》一则，其文曰：

故绝圣弃智，大盗乃止；擿玉毁珠，小盗不起。焚符破玺，而民朴鄙；剖

斗折衡，而民不争；殚残无下之圣法，而民始可与论议。擢乱六律，铄绝竽

瑟，塞瞽旷之耳，而天下始人含其聪矣；灭文章，散五彩，胶离朱之目，而天

下始人含其明矣；毁绝钩绳，而弃规距，■工垂之指，而天下始人含其巧矣。
看至此，意趣洋洋，趁着酒兴，不禁提笔续曰：

焚花散麝，而闺阁始人含其劝矣；戕宝钗之仙姿，灰黛玉之灵窍，丧灭

情意，而闺阁之美恶始相类矣。彼含其劝，则无参商之虞矣；戕其仙姿，无

恋爱之心矣；灰其灵窍，无才思之情矣。彼钗、玉、花、麝者，皆张其罗而穴

其邃，所以迷眩缠陷天下者也。
续毕，掷笔就寝。头刚着枕，便忽然睡去，一夜竟不知所之，直至天明方醒。翻
身看时，只见袭人和衣睡在衾上。宝玉将昨日的事，已付之度外，便推他说道：
“起来好生睡，看冻着了。”

原来袭人见他无晓夜和姊妹厮闹，若真劝他，料不能改，故用柔情以警之，
料他不过半日片刻，仍复好了。

“I’ll pretend they’re dead,” he resolved, “and I have to fend for myself. That’ll leave me free to amuse myself as I please.” Then he read the chapter “The House-Breaker” in Zhuangzi till he came to the following passage:
Do away with sages and wise men, and great robbers will disappear.
Destroy jade and pearls, and no petty thieves will arise.
Bum tallies and smash seals, and the people will revert to their natural simplicity.
Break measures and scales, and they will no longer quarrel.
Abolish all the sacred laws of the world and the people will discuss things freely.
Confuse the musical scales, break harps and lutes,
Stop the ears of good musicians, and all men under heaven will learn to hear for themselves.
Dispense with ornaments and colored patterns;
Glue up the eyes of the keen-sighted, and all men under heaven will learn to see for themselves.
Destroy quadrants and yard-measures, throw away compasses and squares, cut off the fingers of deft artisans, and all men under heaven will learn skill for themselves.”
Precious Jade was so delighted with this passage that, stimulated as he was by wine, he picked up his brush and continued in the same vein:
Burn the flower (Aroma), get rid of the musk (Musk Deer Month), and those in the inner apartments will keep their advice to themselves.
Spoil the beauty of the precious trinket (Precious Hairpin), dull the intelligence of the black jade (Mascara Jade Forest).
Do away with affection, and in the inner chambers fair and foul will then be on an equal footing.
Advice kept to oneself does away with the danger of discord;
Beauty marred obviates affection;
intelligence dulled cuts out admiration for talents.
For trinket, jade, flower and musk are alike spreading nets and laying traps to ensnare and bewitch all men under heaven...
This written he threw down his brush and went to bed, falling into a dreamless sleep as soon as his head touched the pillow. He did not awake till the morning, when he turned and saw Aroma lying fully dressed on the cover at his side.
Yesterday’s grievance forgotten, he nudged her gently. “Get up and sleep properly. You’ll catch cold like that.” Now the wild way Precious Jade played around with his cousins at all hours of the day and night had convinced Aroma that he would be impervious to advice, and so she had decided to teach him a lesson by disclosing her own feelings, expecting that he would soon get over it.

“I’ll pretend that they’re dead,” he resolved, “and I have to fend for myself. That’ll leave me free to amuse myself as I please.” He assigned Fourth to light a candle and boil the tea. Then he read the chapter “The House-Breaker” in Zhuangzi till he came to the following passage. The passage read: Do away with sages and wise men, and great robbers will disappear. Destroy jade and pearls, and no petty thieves will arise. Bum tallies and smash seals, and the people will revert to their natural simplicity. Break measures and scales, and they will no longer quarrel. Abolish all the sacred laws of the world and the people will discuss things freely. Confuse the musical scales, break harps and lutes, Stop the ears of good musicians, and all men under heaven will learn to hear for themselves. Dispense with ornaments and colored patterns; Glue up the eyes of the keen-sighted, and all men under heaven will learn to see for themselves. Destroy quadrants and yard-measures, throw away compasses and squares, cut off the fingers of deft artisans, and all men under heaven will learn skill for themselves.” Precious Jade was so delighted with this passage that, stimulated as he was by wine, he picked up his brush and continued in the same vein: Burn the flower (Aroma), get rid of the musk (Musk Deer Month), and those in the inner apartments will keep their advice to themselves. Spoil the beauty of the precious trinket (Precious Hairpin), dull the intelligence of the black jade (Mascara Jade Forest). Do away with affection, and in the inner chambers fair and foul will then be on an equal footing. Advice kept to oneself does away with the danger of discord; Beauty marred obviates affection; intelligence dulled cuts out admiration for talents. For trinket, jade, flower and musk are alike spreading nets and laying traps to ensnare and bewitch all men under heaven... This written he threw down his brush and went to bed, falling into a dreamless sleep as soon as his head touched the pillow. He did not awake till the morning, when he turned and saw Aroma lying fully dressed on the cover at his side. Yesterday’s grievance forgotten, he nudged her gently. “Get up and sleep properly. You’ll catch cold like that.” Now the wild way Precious Jade played around with his cousins at all hours of the day and night had convinced Aroma that he would be impervious to advice, and so she had decided to teach him a lesson by disclosing her own feelings, expecting that he would get over it within a half day. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 01:27, 6 June 2021 (UTC)

=Yuán Jìng 袁静=

不想宝玉日夜竟不回转，自己反不得主意，直一
夜没好生睡。今忽见宝玉如此，料是他心意回转，便索性不采他。宝玉见他不
应，便伸手替他解衣，刚解开了钮子，被袭人将手推开，又自扣了。宝玉无法，只
得拉他的手笑道：“你到底怎么了？”连问几声，袭人睁眼说道：“我也不怎么。
你睡醒了，你自过那边房里去梳洗，再迟了，就赶不上了。”宝玉道：“我过那里
去？”袭人冷笑道：“你问我，我知道吗？你爱过那里去就过那里去。从今咱们
两个丢开手，省得鸡生鹅斗，叫别人笑。横竖那边腻了过来，这边又有个什么
‘四儿’‘五儿’伏侍。我们这起东西，可是‘白玷辱了好名好姓’的。”宝玉笑道：
“你今儿还记着呢？”袭人道：“一百年还记着呢！比不得你，拿着我的话当耳旁
风，夜里说了，早起就忘了。”宝玉见他娇嗔满面，情不可禁，便向枕边拿起一根
玉簪来，一跌两段，说道：“我再不听你说，就同这簪一样。”袭人忙的拾了簪子，
说道：“大早起，这是何苦来？听不听什么要紧，也值得这个样子。”宝玉道：“你
那里知道我心里急！”袭人笑道：“你也知道着急么！可知我心里怎么样？快起
来洗脸去罢。”说着，二人方起来梳洗。

宝玉往上房去后，谁知黛玉走来，见宝玉不在房中，因翻弄案上书看。

When he sulked for a whole day it was her turn to be at a loss, and she passed a sleepless night. Seeing that he behaved in a better way today, she deliberately ignored him. Precious Jade noticed that she didn't respond him, so he tried to take off her cloth. As soon as he unwent the button, she pushed his hands away and buttoned it up again.Precious Jade had nothing to do but catch hold of her hand and asked, "What's the real matter?" After repeating several times, Aroma opened her eyes and said, "Nothing. If you are awake, go over that room to wash before it's too late. " Precious Jade asked, "Where am I going?" Aroma snorted, "How do I know? Go wherever you like. We may as well seperate from now on, stopping quarreling with each other, which makes others laugh at. " Besides, if you get tired of them over there, you will have others to company you. The rest of us are just a disgrace to have lovely names. " Precious Jade laughed and said, "you still remember that?" Aroma answered, "I will remember it for a hundred of years. I'm not like you, letting what I say go in one ear and out in another ear, forgetting what I said at night in the next morning. " Precious Jade looked at Aroma's pretty face, and he took a jade hairpin beside the pillow and threw it on the floor, which broke into two. He said, "May the thing happen to me if I don't listen to you in the future. " Aroma hurried to pick the hairpin pieces up and said, "How could you say that in the morning. It doesn't matter whether you listen to me. It's not worty to do this." Precious Jade said, "You don't know how bad I feel. " Aroma said, "You can feel bad too? So how do you think I feel? Hurry up and get dressed now." Then they both got up and began their toilet. After Precious Jade went to his grandmother's room, Mascara Jade Forest came and found that Precious Jade was not there. So she looked through books on his desk. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 08:46, 30 May 2021 (UTC)

When he sulked for a whole day it was her turn to be at a loss, and she passed a sleepless night. Seeing that he behaved in a better way today, she deliberately ignored him. Precious Jade noticed that she didn't respond him, so he tried to take off her clothing. As soon as he unlocked the button, she pushed his hands away and buttoned it up again. Precious Jade had nothing to do but caught hold of her hands and asked, "What's the real matter?" After his repeating several times, Aroma opened her eyes and said, "Nothing. If you are awake, go over that room to wash before it's too late." Precious Jade asked, "Where am I going?" Aroma snorted, "How do I know? Go wherever you like. We may as well seperate from now on, stopping quarreling with each other, which made others laugh at. "Besides, if you get tired of them over there, you will have others to company you. The rest of us are just a disgrace to have lovely names." Precious Jade laughed and said, "you still remember that?" Aroma answered, "I will remember it for a hundred of years. I'm not like you, letting what I say go in one ear and out from another ear, forgetting what I said at night in the next morning." Precious Jade looked at Aroma's pretty face, and he took a jade hairpin beside the pillow and threw it on the floor, which broke into two. He said, "May the thing happen to me if I don't listen to you in the future. " Aroma hurried to pick the hairpin pieces up and said, "How could you say that in the morning. It doesn't matter whether you listen to me. It's not worthy to do this." Precious Jade said, "You don't know how bad I feel. " Aroma said, "Can you feel bad too? So how do you think I feel? Hurry up and get dressed now." Then they both got up and began their toilet. After Precious Jade went to his grandmother's room, Mascara Jade Forest came and found that Precious Jade was not there. So she looked through books on his desk.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 01:26, 2 June 2021 (UTC)

=Zhào Kē 赵轲 Mr.=

可巧便翻出昨儿的《庄子》来，看见宝玉所续之处，不觉又气又笑，不禁也提笔续一绝云：

无端弄笔是何人？剩袭《南华》庄子文。不悔自家无见识，却将丑语诋他人！
题毕，也往上房来见贾母，后往王夫人处来。

谁知凤姐之女大姐儿病了，正乱着请大夫诊脉。大夫说：“替夫人奶奶们
道喜：姐儿发热是见喜了，并非别症。”王夫人凤姐听了，忙遣人问：“可好不
好？”大夫回道：“症虽险，却顺，倒还不妨。预备桑虫、猪尾要紧。”凤姐听了，登
时忙将起来：一面打扫房屋，供奉“痘疹娘娘”，一面传与家人忌煎炒等物，一面
命平儿打点铺盖衣服与贾琏隔房，一面又拿大红尺头与奶子丫头亲近人等裁
衣。外面又打扫净室，款留两位医生，轮流斟酌诊脉下药，十二日不放家去。贾
琏只得搬出外书房来安歇。凤姐与平儿都随王夫人日日供奉“娘娘”。那贾琏只离了凤姐，便要寻事，独寝了两夜，十分难熬，只得暂将小厮内清
俊的选来出火。不想荣国府内有一个极不成材破烂酒头厨子，名叫多官，人见
他懦弱无能，都唤他作“多浑虫”。因他父母绐他娶了一个媳妇，今年方二十
岁，也有几分人材，又兼生性轻薄，最喜拈花惹草。多浑虫又不理论，只是有酒
有肉有钱，便诸事不管了。

She happened to dig out Zhuangzi written yesterday, and when she looked at what Precious Jade had continued to write down, with anger and laugh, she noted another stanza after it: Who writing without reasons plagiarized articles from South Chinese Zhuangzi? Lacking field of vision but with no regret, slandering others by clumsy imitation!
After her finishing, she got up stair to visit Grandma Merchant. Later, she walked towards where Lady King was standing at, only to find that the sister of Sister Phoenix’s daughter (revision:the eldest daughter of Sister Phoenix,Sister Ingenious,--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 12:57, 4 June 2021 (UTC))had been ill. They called for a doctor. The doctor said, “I have to say congratulations to you: the reason that she has a fever is pregnancy instead of other diseases.” When Lady King and Sister Phoenix heard that, they sent servants to ask further, “Is she fine?” The doctor replied, “Though the phenomenon is dangerous, I deal with it without a hitch. Please have some silkworms and pigtails ready.” Sister Phoenix heard that and started to clean the room and consecrated Variola Fairy; at the same time she also told families not to make food like frying; what’s more, she asked Patience to settle clothes and Romance Merchant’s room, and brought a red ruler to tailor with those close persons. Outside they cleaned the rooms up and treated two doctors well. They in turn gave medical treatment during twelve days. So Romance Merchant had to get out his study. Patience and Sister Phoenix together with Lady King consecrated the Fairy everyday. Romance Merchant only left Sister Phoenix for two nights, but he was nervous. So he chose those pretty servants to vent his anger. What was out his expectation was that there was a garbage-like chef whose name was Multi Office, called by others Ignorant Worm due to his weak—his parents brought him a wife who was twenty and beautiful. But she was a little bit frivolous and willing to philander. Ignorant Worm said nothing. He cared about nothing except his alcohol, meat, and money.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 14:55, 29 May 2021 (UTC)

20210421 culture

2021-06-14T03:00:32Z

Wu Siyi: /* Wáng Zǐhán 王子涵 */

Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Foundations_of_Chinese_Cultures_2021|Course Homepage (this page)]]. [[Joint_translation_terms|Joint translation terms]] Homework [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]]etc.
=Shū Lín 舒琳=
贾珍回道：“那陈设的东西早已添了许多，自然临期合式陈设。帐幔帘子，昨日听见琏兄弟说，还不全。那原是一
起工程之时就画了各处的图样，量准尺寸，就打发人办去的。想必昨日得了一半。”贾政听了，便知此事不是贾珍的首尾，便叫人去唤贾琏。一时来了。贾政问他：“共有几种？现今得了几种？尚欠几种？”贾琏见问，忙向靴筒内取出靴掖内装的一个纸折略节来，看了一看，回道：“妆蟒绣堆、刻丝弹墨，并各色绸绫大小幔子一百二十架，昨日得了八十架，下欠四十架。帘子二百挂，昨俱得了。
外有猩猩毡帘二百挂，湘妃竹帘二百挂，金丝藤红漆竹帘二百挂，黑潦竹帘二百挂，五彩线络盘花帘二百挂，每样得了一半，也不过秋天都全了。椅搭、桌围、床裙、杌套，每分一千二百件，也有了。”

一面说，一面走，忽见青山斜阻。转过山怀中，隐隐露出一带黄泥墙，墙上皆用稻茎掩护。有几百枝杏花，如喷火蒸霞一般。里面数楹茅屋，外面却是桑、榆、槿、柘，各色树稚新条，随其曲折，编就两溜青篱。篱外山坡之下，有一土井，旁有桔槔辘轳之属；下面分畦列亩，佳蔬菜花，一望无际。

贾政笑道：“倒是此处有些道理。虽系人力穿凿，而入目动心，未免勾引起我归农之意。我们且进去歇息歇息。”

"Of the things that have to be placed about," Treasure Merchant explained, a good number have, at an early period, been added, and of course when the time comes everything will be suitably arranged. As for the curtains, screens, and portieres, which have to be hung up, I heard yesterday brother Lien# say that they are not as yet complete, that when the works were first taken in hand, the plan of each place was drawn, the measurements accurately calculated and someone dispatched to attend to the things, and that he thought that yesterday half of them were bound to come in.

Chia Cheng, upon hearing this explanation, readily remembered that with all these concerns Chia Chen had nothing to do; so that he speedily sent some one to go and call Chia Lien.

Having arrived in a short while, "How many sorts of things are there in all?" Chia Cheng inquired of him. "Of these how many kinds have by this time been got ready? and how many more are short?"

At this question， Chia Lien# hastily produced， from the flaps of his boot， a paper pocket-book， containing a list， which he kept inside the tops of his boot. After perusing it and reperusing it， he made suitable reply. "Of the hundred and twenty curtains，" he proceeded， "of stiff spotted silks， embroidered with dragons in relief， and of the curtains large and small， of every kind of damask silk， eighty were got yesterday， so that there still remain forty of them to come. The two portieres were both received yesterday； and besides these， there are the two hundred red woollen portieres， two hundred portieres of Hsiang Fei bamboo； two hundred door-screens of rattan， with gold streaks， and of red lacquered bamboo； two hundred portieres of black lacquered rattan； two hundred door-screens of variegated thread-netting with clusters of flowers. Of each of these kinds， half have come in， but the whole lot of them will be complete no later than autumn. Antimacassars， table-cloths， flounces for the beds， and cushions for the stools， there are a thousand two hundred of each， but these likewise are ready and at hand."

As he spoke， they proceeded outwards， but suddenly they perceived a hill extending obliquely in such a way as to intercept the passage； and as they wound round the curve of the hill faintly came to view a line of yellow mud walls， the whole length of which was covered with paddy stalks for the sake of protection， and there were several hundreds of apricot trees in bloom， which presented the appearance of being fire， spurted from the mouth， or russet clouds， rising in the air. Inside this enclosure， stood several thatched cottages. Outside GREw， on the other hand， mulberry trees， elms， mallows， and silkworm oaks， whose tender shoots and new twigs， of every hue， were allowed to bend and to intertwine in such a way as to form two rows of green fence. Beyond this fence and below the white mound， was a well， by the side of which stood a well-sweep， windlass and such like articles； the ground further down being divided into parcels， and apportioned into fields， which， with the fine vegetables and cabbages in flower， presented， at the first glance， the aspect of being illimitable.

"This is，" Chia Cheng observed chuckling， "the place really imbued with a certain amount of the right principle； and laid out， though it has been by human labour， yet when it strikes my eye， it so moves my heart， that it cannot help arousing in me the wish to return to my native place and become a farmer. But let us enter and rest a while."--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 10:52, 27 April 2021 (UTC)

=Sū Xiāo 苏潇=
说毕，方欲进去，忽见篱门外路旁有一石，
亦为留题之所，众人笑道：“更妙，更妙！此处若悬匾待题，则田舍家风一洗尽
矣。立此一碣，又觉许多生色，非范石湖田家之咏不足以尽其妙。”贾政道：“诸
公请题。”众人云：“方才世兄云：‘编新不如述旧。’此处古人已道尽矣，莫若直
书‘杏花村’为妙。”贾政听了，笑向贾珍道：“正亏提醒了我。此处都好，只是还
少一个酒幌，明日竟做一个来，就依外面村庄的式样，不必华丽，用竹竿挑在树
梢头。”贾珍答应了，又回道：“此处竟不必养别样雀鸟，只养些鹅、鸭、鸡之类，才
相称。”贾政与众人都说：“妙极。”贾政又向众人道：“‘杏花村’固佳，只足犯了
正村名，直待请名方可。”众客都道：“是呀。如今虚的，却是何字样好？”

大家正想，宝玉却等不得了，也不等贾政的命，便说道：“旧诗有云：‘红杏
梢头挂酒旗’。如今莫若且题以‘杏帘在望’四字。”众人都道：“好个‘在望’！又
暗合‘杏花村’意思。”宝玉冷笑道：“村名若用‘杏花’二字，则俗陋不堪了。又
有唐人诗云‘柴门临水稻花香’，何不用‘稻香村’的妙？”众人听了，越发同声拍
手道：“妙！”贾政一声断喝：“无知的业障！你能知道几个古人，能记得几首旧
诗，也敢在老先生前卖弄！方才那些胡说，也不过是试你的清浊，取笑而已，你
就认真了！”

After saying so, Master Merchant was about to enter, suddenly noticing a stone beside the road outside the hedge gate, which was for writing something. People laughed :”It is considerably wonderful! If a plaque was hung here to be named, the family style of the field would be washed away completely. In making this plaque, there are a lot more vivid features here, and other than Stone Lake Model's poem about countryside is not enough to express its best.”Master Merchant said,”Please create a name and write it here.” The others suggested:”Stating the previous, compared with the newly-created, is better. There have been a lot from the ancients, so it would be excellent to write down ‘Apricot Blossoms Village.’”After hearing that, Master Merchant smiled at Treasure Merchant:”That reminds me. All is well except for a wine flag. I’ll bring one tomorrow, just like the style of the village outside. There is no need to be gorgeous, just using a bamboo pole in the treetop head.”

=Tāng Huì 汤惠=
说着，引众人步入茆堂，里面纸窗木榻，富贵气象一洗皆尽。贾政心中自
是欢喜，却瞅宝王道：“此处如何？”众人见问，都忙悄悄的推宝玉教他说好。宝
玉不听人言，便应声道：“不及‘有凤来仪’多矣。”贾政听了道：“无知的蠢物，你
只知朱楼画栋、恶赖富丽为佳，那里知道这清幽气象？终是不读书之过！”宝玉
忙答道：“老爷教训的固是，但古人尝云‘天然’，此字不知何意？”

众人见宝玉牛心，都怪他呆痴不改；今见问“天然”二字，众人忙道：“别的
都明白，如何‘天然’反不明白？‘天然’者，天之自成，而非人力之所为也。”宝
玉道：“却又来！此处置一田庄，分明是人力造作而成：远无邻村，近不负郭，背
山山无脉，临水水无源，高无隐寺之塔，下无通市之桥，峭然孤出，似非大观，怎
似先处有自然之理，得自然之趣？虽种竹引泉，亦不伤穿凿。古人云‘天然图
画’四字，正畏非其地而强为其地，非其山而强为其山，即百般精巧，终不相宜
……”未及说完，贾政气的喝命：“扠出去！”才出去，又喝命：“回来！”命：“再题
一联，若不通，一并打嘴！”宝玉只得念道：

新绿涨添浣葛处，好云香护采芹人。

贾政听了，摇头道：“更不好。”一面引人出来，转过山坡，穿花度柳，抚石依
泉，过了荼蘸架，入木香棚，

Saying that he led the party into one of the cottages. It was quite gorgeous, with paper windows and wooden couches. Secretly pleased, he glanced at Precious Jade and asked, “What do you think of this place?” The guests hinted the boy to express his approval. However, Precious Jade ignored these and answered, “It can’t compare with ‘Where the Phoenix Alights’.” “Ignorant idiot!” Master Merchant sighed. “All you care for are red pavilions and painted beams. With your perverse taste for luxury, how can you appreciate the natural beauty of such a quiet cottage? This comes of neglecting your studies.” “Yes sir,” replied Precious Jade. “But the ancients were always using the term ‘natural’. I wonder what they really meant by it? Afraid he will lead to another trouble, the others hastily put in, “You understand everything well, why ask about the term ‘natural’? It means coming from nature, not human efforts.” “That’s it! The cottages here are obviously artificial and out of place with no villages in the distance, no fields near by, no mountains ranges behind, no source for the stream at hand, above, no pagoda from any half hidden temple, below, no bridge leading to a market. Perched here in isolation, it is nothing like as fine a sight as those places which were far-fetched. The bamboos and streams there didn’t look so artificial. What the ancients called ‘a natural picture’ means precisely that when you insist on an unsuitable site and hills where no hills should be, however skillful you go about it the result is not suitable....” “Get out!” thundered Master Merchant. “Stop, come back. Make another couplet. If it is no good I’ll slap your face on both accounts.” Precious Jade had to comply. He said:

“The green tide fills the creek where clothes are washed; Clouds of fragrance surround the girls plucking water-cress.”

Master Merchant shook his head, “Worse and worse.” With that he led the crowd out. The path now curved around a slope, past flowers and willows, rocks and springs, they entered a tree-peony pavilion.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 14:11, 25 May 2021 (UTC)

Saying that he led the party into one of the cottages. It was quite gorgeous, with paper windows and wooden couches. Secretly pleased, he glanced at Precious Jade and asked, “What do you think of this place?” The guests hinted the boy to express his approval. However, Precious Jade ignored these and answered, “It can’t be compared with ‘A Phoenix Comes With Grace to Rest’.” “Ignorant idiot!” Master Merchant sighed. “All you care for are red pavilions and painted beams. With your perverse taste for luxury, how can you appreciate the natural beauty of such a quiet cottage? This comes of neglecting your studies.” “Yes sir,” replied Precious Jade. “But the ancients were always using the term ‘natural’. I wonder what they really meant by it? Afraid he will lead to another trouble, the others hastily put in, “You understand everything well, why ask about the term ‘natural’? It means coming from nature, not human efforts.” “That’s it! The cottages here are obviously artificial and out of place with no villages in the distance, no fields near by, no mountains ranges behind, no source for the stream at hand, above, no pagoda from any half hidden temple, below, no bridge leading to a market. Perched here in isolation, it is nothing like as fine a sight as those places which were far-fetched. The bamboos and streams there didn’t look so artificial. What the ancients called ‘a natural picture’ means precisely that when you insist on an unsuitable site and hills where no hills should be, however skillful you go about it the result is not suitable....” “Get out!” thundered Master Merchant. “Stop, come back. Make another couplet. If it is no good I’ll slap your face on both accounts.” Precious Jade had to comply. He said:

“The green tide fills the creek where clothes are washed; Clouds of fragrance surround the girls plucking water-cress.”

Master Merchant shook his head, “Worse and worse.” With that he led the crowd out. The path now curved around a slope, past flowers and willows, rocks and springs, they entered a tree-peony pavilion.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 08:34, 29 May 2021 (UTC)

=Táng Qǐzhōu 唐启洲 Mr.=
越牡丹亭，度芍药圃，入蔷薇院，来到芭蕉坞，盘簇曲折。忽闻水声潺潺，出于石洞；上则萝薜倒垂，下则落花浮荡。众人都道：“好景，好景！”贾政道：“诸公题以何名？”众人道：“再不必拟了，恰恰乎是‘武陵源’三字。”贾政笑道：“又落实了，而且陈旧。”众人笑道：“不然就用‘秦人旧舍’四字也罢。”宝玉道：“越发过露了。‘秦人旧舍’说避乱之意，如何使得？莫若‘蓼汀花溆’四字。”贾政听了道：“更是胡说。”

于是贾政进了港洞，又问贾珍：“有船无船？”贾珍道：“采莲船共四只，座船一只，如今尚未造成。”贾政笑道：“可惜不得入了。”贾珍道：“从山上盘道也可以进去。”说毕，在前导引，大家攀藤抚树过去。只见水上落花愈多，其水愈清，溶溶荡荡，曲折萦纡。池边两行垂柳，杂以桃杏遮天蔽日，真无一些尘土。忽见柳阴中又露出一个折带朱栏板桥来，度过桥去，诸路可通，便见一所清凉瓦舍，一色水磨砖墙，清瓦花堵。那大主山所分之脉，皆穿墙而过。

贾政道：“此处这一所房子，无味的很。”因而步入门时，忽迎面突出插天的大玲珑山石来，四面群绕各式石块，竟把里面所有房屋悉皆遮住。且一株花木也无，只见许多异草：或有牵藤的，或有引蔓的，或垂山巅，或穿石脚，甚至垂檐绕柱，

..., past the Pavilion of Peony and the Garden of Chinese Herbaceous Peony, and reached where the plantain grew, winding and curving. Suddenly they heard the sound of a gushing spring from a cave hidden behind vines, and saw fallen flowers floating on the water below. People exclaimed," What a good scene!" Master Merchant asked them to suggest a name for it.“What would be better than ‘The Spring of Wuling’?” said people.“It's same name as a real place, and how stale it is!” objected Master Merchant with a smile.“Then how about 'The Refuge of a Man of Qin'?”“That's even more impossible,” said Precious Jade. “How can we use something that implies taking refuge in the wartime? I would suggest ‘Smartweed Bank and Flowery Harbor.”“That's more like a nonsense,” commented Master Merchant.

Then Master Merchant strolled to the water’s edge and asked Treasure Merchant, “Any boats here?”“There will be four boats for lotus-gathering and one boat for sight-seeing, but they haven't been prepared yet.”“What a pity we can’t enter it!”“We can go by the path on the hills,” said Treasure Merchant who then led the way, and the others followed there, clinging to creepers and trees. There were more fallen flowers floating on the water, which was clearer than ever as it swirled down. The stream was accompanied by weeping willows and peach and apricot trees, so lush that they screened the sun, and there was no dust in the air. Suddenly, in the shade of the willows, they saw an arched wooden bridge with scarlet railings, over which lay paths to everywhere. However, their attention was caught by an airy house of smooth brick with spotless tiles and an ornamental wall on one of the lesser slopes of the main hill.

“That building seems inappropriate here,” remarked Master Merchant. When he stepped in, he was greeted by tall weathered rocks of every description which hid the house from sight. There were no trees and flowers but abundant rare grasses, stretching their vines, falling from the artificial mountains, growing through the rocks, hanging from the eaves, winding the pillar...--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:42, 6 May 2021 (UTC)

=Téng Bìxiá 滕璧霞=
萦砌盘阶，或如翠带飘飘，或如金绳蟠屈，或实若丹砂，或花如金桂，味香
气馥，非凡花之可比。贾政不禁道：“有趣！只是不大认识。”有的说：“是薜荔
藤萝。”贾政道：“薛荔藤萝那得有此异香？”宝玉道：“果然不是。这众草中也有
藤萝薜荔，那香的是杜若蘅芜，那一种大约是茝兰，这一种大约是金葛，那一种
是金?草，这一种是玉蕗藤，红的自然是紫芸，绿的定是青芷。想来那《离骚》
《文选》所有的那些异草，有叫作什么霍纳姜汇的，也有叫作什么纶组紫绛的，
还有什么石帆、水松、扶留等样的，见于左太冲《吴都赋》。又有叫作什么绿荑
的，还有什幺丹椒、蘸芜、风莲，见于《蜀都赋》。如今年深岁改，人不能识，故皆
象形夺名，渐渐的唤差了，也是有的……”未及说完，贾政喝道：“谁问你来？”唬
的宝玉倒退，不敢再说。

贾政因见两边俱是超手游廊，便顺着游廊步入，只见上面五间清厦连着卷
棚，四面出廊，绿窗油壁，更比前清雅不同。贾政叹道：“此轩中煮茶操琴，亦不
必再焚香矣。此造却出意外，诸公必有佳作新题，以颜其额，方不负此。”众人笑
道：“莫若‘兰风蕙露’贴切了。”贾政道：“也只好用这四字。其联云何？”一人
道：“我想了一对，大家批削改正。”道是：

麝兰芳霭斜阳院，杜若香飘明月洲。
...grew through the rocks, hung from the eaves, twined round the pillars and carpeted the steps. Some seemed like floating green belts or golden bands; others had berries red as cinnabar and flowers like golden osmanthus which gave off a penetrating scent, unlike the scent of ordinary flowers.“This is charming!” Master Merchant could not help exclaiming,“but I am not familiar with them."“Climbing fig and wistaria?” someone suggested.“Master Merchant said :"but they don’t have such a strange fragrance, do they?”“They certainly don’t,” said Precious Jade. “There are climbing fig and wistaria here, but the fragrance comes from alpinia and snakeroot. That one over there is iris, I fancy, and here we have dolichos, dwarf-mallow and glyrcyrrhia. That crimson plant is purple rue, of course; the green, angelica.A lot of these rare plants are mentioned in the Li Sao and Wen Xuan, plants with names like huona, jiangqian, lunzu and zijiang; shifan, shuisong and fuliu; luyi, danjiao, miwu and fenglian.But after all these centuries scholars can no longer identify these plants, for which new names have been found…”“Who asked your opinion?” roared his father. Precious Jade stepped back nervously and said no more.Finding corridors ran along both sides of this court, Master Merchant led his party down one of these to a cool five-section gallery with roofed verandahs on four sides, green windows and painted walls, more elegant than any they had yet seen.“One could brew tea here and play the lyre without having to burn rare incense.”He sighed appreciatively, “This is certainly unexpected. We need a good inscription, gentlemen, to do it justice.”“What could be apter than ‘Wind in the Orchids and Dew on Angelicas’?” one ventured.“I suppose we have no other choice. Now what about a couplet?”“I have thought of one,” said another. “The rest of you must correct it.”Fragrance of musk-orchids fills the court at dusk,Scent of alpinia floats to the moonlit island.

=Wáng Chǔyí 王楚仪=
众人道：“妙则妙矣！只是‘斜阳’二字不妥。”那人引古诗“蘼芜满院泣斜阳”
句，众人云：“颓丧，颓丧！”又一人道：“我也有一联，诸公评阅评阅。”念道：
三径香风飘玉蕙，一庭明月照金兰。

贾政拈须沉吟，意欲也题一联，忽抬头见宝玉在旁不敢作声，因喝道：“怎
么你应说话时又不说了？还要等人请教你不成！”宝玉听了回道：“此处并没有
什么‘兰麝’、‘明月’、‘洲渚’之类，若要这样着迹说来，就题二百联也不能完。”
贾政道：“谁接着你的头，教你必定说这些字样呢？”宝玉道：‘如此说，则匾上莫
若‘蘅芷清芬’四字。对联则是：

吟成豆蔻诗犹艳，睡足荼?梦也香。”

贾政笑道：“这是套的‘书成蕉叶文犹绿’，不足为奇。”众人道：“李太白‘凤凰台’之作，全套‘黄鹤楼’。只要套得妙。如今细评起来，方才这一联竟比‘书成蕉叶’尤觉幽雅活动。”贾政笑道：“岂有此理！”

说着，大家出来，走不多远，则见崇阁巍峨，层楼高起，面面琳宫合抱，迢迢
复道萦纤。青松拂檐，玉兰绕砌，金辉兽面，彩焕螭头。贾政道：“这是正殿了。
只是太富丽了些。”众人都道：“要如此方是。虽然贵妃崇尚节俭，然今日之尊，
礼仪如此，不为过也。”一面说，一面走，只见正面现出一座玉石牌坊，上面龙蟠螭护，玲垅凿就。

“Very good,” they commented. “Only the reference to ‘dusk’ seems inappropriate.”He then quoted the old poem with the line, “The alpinia in the court weeps in the dusk.”“Too sad, too sad,” they protested.“Here’s one for your consideration.” said another.

Along three paths white angelica scents the breeze,
In the court a bright moon shines on golden orchids.

Master Merchant thoughtfully tugged at his beard and seemed about to propose a couplet himself when, raising his head, he caught sight of Precious Jade, now afraid to open his mouth. “Well?” he said sternly. “When it’s time to speak you say nothing. Are you waiting to be begged for the favour of your instruction?”“We have no musk, moon or islands here,” said Precious Jade. “If you want allusive couplets of that kind, we can easily compose hundreds.”
“Who is putting pressure on you to use those words?”“Well then, I suggest ‘Pure Scent of Alpinia and Iris.’” And for the couplet:

Singing on cardamons makes lovely poetry;
Sleeping beneath roses induces sweet dreams.

Master Merchant laughed. “You got that from the line ‘Write on plantain leaves and green is the writing.’ This is mere plagiarism.”“There’s nothing wrong with plagiarism provided it’s well done,” countered the others. “Even Li Bai copied from Yellow Crane Pavilion when he wrote his Phoenix Tower. If you consider this couplet carefully, sir, it is livelier and more poetical than the original. It even looks as if the other line plagiarizes this by our young master.”
“Preposterous!” Master Merchant smiled.
From there they went on some way until ahead of them loomed towering pavilions enclosed by magnificent buildings, all of them connected by winding passageways. Green pines brushed the eaves, white balustrades skirted the steps, the animal designs glittered like gold and the dragon-heads blazed with colour.“This must be the main reception palace,” observed Master Merchant. “Its one fault is that it is too luxurious.” “Unavoidably so,” they reasoned. “Although Her Royal Highness prizes frugality, this is no more than is due to her present exalted rank.”They were now at the foot of a marble arch finely carved with rampant dragons and coiling serpents.

--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 06:22, 8 May 2021 (UTC)

“Very good,” they commented. “Only the reference to ‘dusk’ seems inappropriate.”He then quoted the old poem with the line, “The alpinia in the court weeps in the dusk.”“Too sad, too sad,” they protested.“Here’s one for your consideration.” said another.

Along three paths white angelica scents the breeze,
In the court a bright moon shines on golden orchids.

Master Merchant thoughtfully tugged at his beard and seemed about to propose a couplet himself when, raising his head, he caught sight of Precious Jade, now afraid to open his mouth. “Well?” he said sternly. “When it’s time to speak you say nothing. Are you waiting to be begged for the favor of your instruction?”“We have no so called musk, moon or islands here,” said Precious Jade. “If you want allusive couplets of that kind, we can easily compose hundreds.”
“Who is putting pressure on you to use those words?”“Well then, I suggest ‘Pure Scent of Alpinia and Iris.’” And for the couplet:

Singing on cardamons makes lovely poetry;
Sleeping beneath roses induces sweet dreams.

Master Merchant laughed. “You got that from the line ‘Write on plantain leaves and green is the writing.’ This is mere plagiarism.”“There’s nothing wrong with plagiarism provided it’s well done,” countered the others. “Even Li Bai copied from Yellow Crane Pavilion when he wrote his Phoenix Tower. If you consider this couplet carefully, sir, it is livelier and more poetical than the original. It even looks as if the other line plagiarizes this by our young master.”
“Preposterous!” Master Merchant smiled.
From there they went on some way until ahead of them loomed towering pavilions enclosed by magnificent buildings, all of them connected by winding passageways. Green pines brushed the eaves, white balustrades skirted the steps, the animal designs glittered like gold and the dragon-heads blazed with colour.“This must be the main reception palace,” observed Master Merchant. “Its one fault is that it is too luxurious.” “Unavoidably so,” they reasoned. “Although Her Royal Highness prizes frugality, this is no more than is due to her present exalted rank.”They were now at the foot of a marble arch finely carved with rampant dragons and coiling serpents.--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 15:52, 1 June 2021 (UTC)

=Wáng Jìngyí 王静怡=
贾政道：“此处书以何文？”众人道“必是‘蓬莱仙境’方妙。”
贾政摇头不语。

宝玉见了这个所在，心中忽有所动，寻思起来，倒像在那里见过的一般，却
一时想不起那年那月日的事了。贾政又命他题咏，宝玉只顾细思前景，全无心
于此了。众人不知其意，只当他受了这半日折磨，精神耗散，才尽词穷了；再要
留难逼迫着了急，或生出事来，倒不便。遂忙都劝贾政道：“罢了，明日再题罢
了。”贾政心中也怕贾母不放心，遂冷笑道：“你这畜生，也竟有不能之时了。也
罢，限你一日，明日题不来，定不饶你。这是第一要紧处所，要好生作来！”

说着，引人出来，再一观望，原来自进门至此，才游了十之五六。又值人来
回，有雨村处遣人回话。贾政笑道：“此数处不能游了。虽如此，到底从那一边
出去，也可略观大概。”说着，引客行来，至一大桥，水如晶帘一般奔入。原来这
桥便是通外河之闸，引泉而入者。贾政因问：“此闸何名？”宝玉道：“此乃沁芳
源之正流，即名‘沁芳闸’。”贾政道：“胡说，偏不用‘沁芳’二字。”

于是一路行来，或清堂，或茅舍，或堆石为垣，或编花为门，或山下得幽尼佛
寺，或林中藏女道丹房，或长廊曲洞，或方厦圆亭，贾政皆不及进去。因半日未
尝歇息，腿酸脚软，忽又见前面露出一所院落来，

“What should be inscribed here?” asked Master Merchant. “‘The Fairy Land of Penglai’?” He shook his head and said nothing. As for Precious Jade, he felt strangely stirred by this sight, as if he had seen a place of this kind before: though just when he could not remember. Called upon to compose an inscription, he was too preoccupied to think of anything else. The others, not knowing this, imagined that his wits were wandering and he was exhausted after his long ordeal. Fearing that if he were pressed too hard the consequences might be serious, they urged his father to give him a day’s grace. Master Merchant, aware that his mother might well be anxious, said with an ironic smile, “So sometimes you are at a loss too, you young rascal. Very well, I’ll give you until tomorrow. But if no inscription is ready then, so much the worse for you. This is the most important place, so mind you do your best.” They continued with the tour of inspection and had covered little more than half the grounds when a servant reported that someone had arrived with a message from Rain Village. “We can’t see the rest of the places,” said Master Merchant. “But by going out the other way we can at least get a general idea, even if we don’t see them all.” He led the way to a large bridge above a crystal curtain of cascading water. This was the sluice admitting water from outside. Master Merchant asked for a name for it. “Rubbish.” said his father. “Since this is the source of the River of Seeping Fragrance it could be called ‘Seeping Fragrance Lock,”’ Precious Jade suggested. “We just won’t have ‘Seeping Fragrance.” On they went past quiet lodges and thatched huts, stone walls and pergolas of flowers, a temple secluded in the hills and a convent half hidden among the trees, long covered walks, meandering grottoes, square mansions and round kiosks, none of which they had time to enter. However, it was so long since their last rest that all were footsore and weary by the time they saw another lodge in front, --[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 15:23, 1 June 2021 (UTC)

=Wáng Qìnyú 王沁瑜=
贾政道：“到此可要歇息歇息
了。”说着一径引入，绕着碧桃花，穿过竹篱花障编就的月洞门，俄见粉垣环护，
绿柳周垂。贾政与众人进了门，两边尽是游廊相接，院中点衬几块山石，一边种
几本芭蕉，那一边是一株西府海棠，其势若伞，丝垂金缕，葩吐丹砂。众人都道：
“好花，好花！海棠也有，从没见过这样好的。”贾政道：“这叫做‘女儿棠’，乃是
外国之种，俗传出‘女儿国’，故花最繁盛，亦荒唐不经之说耳。”众人道：“毕竟
此花不同，‘女国’之说，想亦有之。”宝玉云：“大约骚人咏士以此花红若施脂，
弱如扶病，近乎闺阁风度，故以‘女儿’命名。世人以讹传讹，都未免认真了。”
众人都说：“领教，妙解！”

一面说话，一面都在廊下榻上坐了。贾政因道：“想几个什么新鲜字来
题？”一客道：“‘蕉鹤’二字妙。”又一个道：“‘崇光泛彩’方妙。”贾政与众人都
道：“好个‘祟光泛彩’！”宝玉也道：“妙。”又说：“只是可惜了。”众人问：“如何可
惜？”宝玉道：“此处蕉棠两植，其意暗蓄‘红’‘绿’二字在内，若说一样，遗漏一
样，便不足取。”贾政道：“依你如何？”宝玉道：“依我，题‘红香绿玉’四字，方两
全其美。”贾政摇头道：“不好，不好！”

说着，引人进入房内。
Master Merchant said, “Here we must take a rest.” Then,he led the way in past some double-flowering peach in blossom and through a moon-gate made of bamboo over which climbed flowering plants. Whitewashed walls and green willows confronted them then. Along the walls ran covered corridors, and the rockery in the centre of the courtyard was flanked on one side by plantains, on the other by a red multi-petalled crab-apple tree, its branches trained in the shape of an umbrella, with green trailing tendrils and petals red as cinnabar. “What superb blossoms!” they exclaimed. “We have never seen such a splendid one before.”
“This is a foreign variety called ‘Maiden Apple,’” Master Merchant told them.
“Tradition has it that it comes from the Land of Maidens, and that it blossoms profusely in that country; but that is nothing but an old wives’ tale.”
“If so, how did the name come to be handed down?” they wondered.
“Quite likely the name ‘Maiden’ was given by some poet,” said Precious Jade，“because this flower is as red as rouged cheeks and as frail as a delicate girl. Then some vulgar character made up that story and ignorant people believed it.”
“A most plausible explanation,” said the others.

They sat down on some benches in the corridor and Master Merchant at once asked for another inscription. “Plantains and Storks’?” one proposed. ‘‘Or ‘Towering Splendour and Shimmering Radiance.’”another one said. Master Merchant and the rest approved, as indeed did Precious Jade , adding, “It’s a pity, though...” Asked to explain himself, he said, “Plantain and crabapple blossom suggest both red and green. It’s a pity to refer to one and not the other.” “What do you suggest then?” Master Merchant said.“ Something like ‘Red Fragrance and Green Jade’ would bring out the charm of both, I think.”“Not fit!” Master Merchant shook his head. He led the way into the building.

Master Merchant said, “Here we must have a rest.” Then, he led the way in past some double-flowering peach in blossom and through a moon-gate made of bamboo over which climbed flowering plants. Whitewashed walls and green willows confronted them then. Along the walls ran covered corridors, and the rockery in the centre of the courtyard was flanked on one side by plantains, on the other by a red multi-petalled crab-apple tree, its branches trained in the shape of an umbrella, with green trailing tendrils and petals red as cinnabar. “What superb blossoms!” they exclaimed. “We have never seen such a splendid one before.”
“This is a foreign variety called ‘Maiden Apple,” Master Merchant told them.
“Tradition has it that it comes from the Land of Maidens, and that it blossoms profusely in that country; but that is nothing but an old wives’ tale.”
“If so, how did the name come to be handed down?” they wondered.
“Quite likely the name ‘Maiden’ was given by some poet,” said Precious Jade，“because this flower is as red as rouged cheeks and as frail as a delicate girl. Then some vulgar character made up that story and ignorant people believed it.”
“A most plausible explanation,” said the others.

They sat down on some benches in the corridor and Master Merchant at once asked for another inscription. “Plantains and Storks’?” one proposed. ‘‘Or ‘Towering Splendour and Shimmering Radiance.’”another one said. Master Merchant and the rest approved, as indeed did Precious Jade , adding, “It’s a pity, though...” Asked to explain himself, he said, “Plantain and crabapple blossom suggest both red and green. It’s a pity to refer to one and not the other.” “What do you suggest then?” Master Merchant said.“ Something like ‘Red Fragrance and Green Jade’ would bring out the charm of both, I think.” “Not fit!” Master Merchant shook his head. He led the way into the building.
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:07, 9 June 2021 (UTC)

=Wáng Zǐhán 王子涵=
只见其中收拾的与别处不同，竟分不出间隔来的。
原来四面皆是雕空玲珑木板，或“流云百蝠”，或“岁寒三友”，或山水人物，或翎
毛花卉，或集锦，或博占，或万福万寿，各种花样，皆是名手雕镂，五彩销金嵌玉
的。一槅一槅，或贮书，或设鼎，或安置笔砚，或供设瓶花，或安放盆景；萁槅式
样，或圆，或方，或葵花蕉叶，或连环半璧。真是花团锦簇，玲珑剔透。倏尔五色
纱糊，竟系小窗；倏尔彩绫轻覆，竟如幽户。且满墙皆是随依古董玩器之形抠成
的槽子，如琴、剑、悬瓶之类，俱悬于壁，却都是与壁相平的。众人都赞：“好精
致！难为怎么做的！”

原来贾政走了进来，未到两层，便都迷了旧路，左瞧也有门可通，右瞧也有
窗暂隔，及到跟前，又被一架书挡住。回头又有窗纱明透门径可行，及至门前，
忽见迎面也进来了一起人，与自己的形相一样，——却是一架大玻璃镜。转过
镜去一发见门多了。贾珍笑道：“老爷随我来，从此门出去便是后院，出了后
院，倒比先近了。”引着贾政及众人转了两层纱厨，果得一门出去，院中满架蔷
薇。转过花障，则见青溪前阻。众人咤异：“这水又从何而来？”贾珍遥指道：
“原从那闸起流至那洞口，从东北山坳里引到那村庄里，又开一道岔口，引至西
南上，共总流到这里，仍旧合在一处，从那墙下出去。”
It was unusually set out with no clear-cut divisions between the different rooms. They were beautifully carved with the motifs “clouds and a hundred bats” of the “three companions of winter”: pine, plum and bamboo, as well as landscapes and figures, birds and flowers, scrollwork, imitation curios and symbols of good fortune or long life. All executed by the finest craftsmen, they were brilliantly coloured and inlaid with gold or precious stones. There were only partitions formed of shelves for books, bronze tripods, stationery, flower vases and miniature gardens, some round, some square, some shaped like sunflowers, plantain leaves or intersecting arcs. The effect was splendid, the workmanship exquisite. Here a strip of coloured gauze concealed a small window, there a gorgeous curtain hid a door. There were also niches on the walls to fit antiques, lyres, swords, vases or other ornaments, which hung level with the surface of the wall. Their amazement and admiration for the craftsmen’s ingenuity knew no bounds.
After passing two partitions Jia Zheng and his party lost their way. To their left they saw a door, to their right a window; but when they went forward their passage was blocked by a bookshelf. Turning back they glimpsed the way through another window; but on reaching the door they suddenly saw a party just like their own confronting them: they were looking at a big mirror. Passing round this they came to more doorways. “Follow me, sir,” urged Jia Zhen with a smile. “Let me take you to the back courtyard and show you a short cut.” He conducted them past two gauze screens out into a courtyard filled with rose trellises. Skirting round the fence, Baoyu saw a clear stream in front. All exclaimed in astonishment, “Where does this water come from?” Jia Zhen pointed to a spot in the distance. “It flows from that lock we saw through the ravine, then from the northeast valley to the little farm, where some is diverted southwest. Here both streams converge to flow out underneath the wall.”--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:05, 9 June 2021 (UTC)

It was unusually set out with no clear-cut divisions between the different rooms. They were beautifully carved with the motifs “floating clouds and a hundred bats”or the “three companions of winter”: pine, plum and bamboo, as well as landscapes and figures, birds and flowers, scrollwork, imitation curios and symbols of good fortune or long life. All executed by the finest craftsmen, they were brilliantly coloured and inlaid with gold or precious stones. There were only partitions formed of shelves for books, bronze tripods, stationery, flower vases and miniature gardens, some round, some square, some shaped like sunflowers, plantain leaves or intersecting arcs. The effect was splendid, the workmanship exquisite. Here a strip of coloured gauze concealed a small window, there a gorgeous curtain hid a door. There were also niches on the walls to fit antiques, lyres, swords, vases or other ornaments, which hung level with the surface of the wall. Everyone was amazed by the work’s delicacy and the craftsmen’s ingenuity .
After passing two partitions Master Merchant and his party lost their way. To their left they saw a door, to their right a window; but when they went forward their passage was blocked by a bookshelf. Turning back they glimpsed the way through another window; but on reaching the door they suddenly saw a party just like their own confronting them: they were looking at a big mirror. Passing round this they came to more doorways. “Follow me, sir,” urged Master Merchant with a smile. “Let me take you to the back courtyard and show you a short cut.” He conducted them past two gauze screens out into a courtyard filled with rose trellises. Skirting round the fence, Precious Jade saw a clear stream in front. All exclaimed in astonishment, “Where does this water come from?” Master Merchant pointed to a spot in the distance. “It flows from that lock we saw through the ravine, then from the northeast valley to the little farm, where some is diverted southwest. Here both streams converge to flow out underneath the wall.”--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 03:00, 14 June 2021 (UTC)

=Wǔ Sīyí 伍斯仪=
众人听了，都道：“神妙之
极！”说着，忽见大山阻路，众人都谜了路，贾珍笑道：“随我来。”乃在前导引，众
人随着，由山脚下一转，便是平坦大路，豁然大门现于面前，众人都道：“有趣，有
趣！搜神夺巧，至于此极！”于是大家出来。

那宝玉一心只记挂着里边姊妹们，又不见贾政吩咐，只得跟到书房。贾政
忽想起来道：“你还不去，看老太太记念你。难道还逛不足么？”宝玉方退了出
来。至院外，就有跟贾政的小厮上来抱住，说道：“今日亏了老爷喜欢，方才老太
太打发人出来问了几次，我们回说老爷喜欢；若不然，老太太叫你进去了，就不
得展才了。人人都说，你才那些诗比众人都强，今儿得了彩头，该赏我们了。”宝
玉笑道：“每人一吊。”众人道：“谁没见那一吊钱！把这荷包赏了罢。”说着，一
个个都上来解荷包，解扇袋，不容分说，将宝玉所佩之物，尽行解去。又道：“好
生送上去罢。”一个个围绕着，送至贾母门前。那时贾母正等着他，见他来了，知
道不曾难为他，心中自是喜欢。

少时袭人倒了茶来，见身边佩物，一件不存，因笑道：“带的东西必又是那
起没脸的东西们解了去了。”林黛玉听说，走过来一瞧，果然一件无存，因向宝玉
道：“我给你的那个荷包也给他们了？你明儿再想我的东西，可不能够了！”

“Miraculous!” they marveled. Now another hill blocked their way and they all got lost. But Treasure Merchant laughed and said, “following me,” and as soon as they rounded the foot of the hill they found themselves on a smooth highway not far from the main entrance. “How interesting,” they said. “How fabulous.” And then they left the garden.
Precious Jade was longing to get back to the girls, but receiving no dismissal from his father he had to follow him to the library. Now Master Merchant suddenly remembered his presence. “Why are you still here?” he demanded. “Haven’t you had enough of wandering around? The old lady will be worrying about you. She’s wasting her love on you. Off you go, quick.” Then at last Precious Jade could withdraw. As soon as Precious Jade was out of the courtyard, the pages who attended Master Merchant stepped forward to throw their arms around his waist. They said, “It’s lucky for you that the master was in such a good mood today. The old lady sent several times to ask how things were, and you should thank us for telling her he looked pleased. Otherwise she’d have sent for you and you wouldn't have had this chance to shine. Everybody said your poems were the best. “Today’s your lucky day, so give us a tip.” “You shall each have a string of cash,” he promised them. “Who hasn’t seen a string of cash?” cried one. “Give me your pouch.” Swarming round without so much as a “by your leave,” they stripped him of his scented pouch, fan-sheath and other pendants. “Now let’s see him back!” they cried. With one of them carrying him, the others in a troop escorted him along to the outer courtyard of the Grandma Merchant’s apartments. Since she had sent several times to see how her grandson was faring, she was naturally pleased when her nannies and maids brought him in, none the worse for his experience.
When presently Aroma handed him tea she noticed that not one of his pendants was left. “So those shameless wretches have taken all your things again,” she remarked with a smile. Mascara Jade Forest came over to see if this was true. Sure enough, all his trinkets had gone. “So you’ve given them that pouch I made you too!” she remarked. “All right, that’s the last thing you’ll ever get from me.”

=Wú Xīnxīn 吴欣欣=
说
毕，生气回房，将前日宝玉嘱咐他做而未完之香袋，章起剪子来就铰。宝玉见他
生气，便忙赶过来，早已剪破了。宝玉曾见过这香袋，虽未完工，却十分精巧，无
故剪了，却也可气。因忙把衣领解了，从里面衣襟上将所系荷包解了下来，递与
黛玉道“你瞧瞧，这是什么东西？我可曾把你的东西给人？”林黛玉见他如此
珍重，带在里面，可知是怕人拿去之意，因此又自悔莽撞剪了香袋，低着头一言
不发。宝玉道：“你也不用剪，我知你是懒怠给我东西。我连这荷包奉还，何
如？”说着掷向他怀中而去。黛玉越发气得哭了，拿起荷包又剪。宝玉忙回身
抢住，笑道：“好妹妹，饶了他罢！”黛玉将剪子一摔，拭泪说道：“你不用合我好
一阵歹一阵的，要恼就撂开手。”说着赌气上床，面向里倒下拭泪。禁不住宝玉
上来“妹妹”长“妹妹”短赔不是。

前面贾母一片声找宝玉。众人回说：“在林姑娘房里。”贾母听说道：“好，
好，好！让他姊妹们一处玩玩罢。才他老子拘了他这半天，让他开心一会子罢。
只别叫他们拌嘴。”众人答应着。

黛玉被宝玉缠不过，只得起来道：“你的意思不叫我安生，我就离了你。”说
着往外就走。宝玉笑道：“你到那里，我跟到那里。”一面仍拿着荷包来带上。
黛玉伸手抢道：“你说不要，这会子又带上，我也替你怪臊的！”说着“嗤”的一声
笑了。

After uttering these words， she returned into her apartment in high dudgeon， and taking the scented bag， which Precious Jade had asked her to make for him， and which she had not as yet finished， she picked up a pair of scissors， and instantly cut it to pieces.

Precious Jade noticing that she had lost her temper， came after her with hurried step， but the bag had already been cut with the scissors； and as Precious Jade observed how extremely fine and artistic this scented bag was， in spite of its unfinished state， he verily deplored that it should have been rent to pieces for no rhyme or reason. Promptly therefore unbuttoning his coat， he produced from inside the lapel the purse， which had been fastened there. "Look at this！" he remarked as he handed it to Mascara Jade； "what kind of thing is this！ have I given away to any one what was yours？" Lin Mascara Jade， upon seeing how much he prized it as to wear it within his clothes， became alive to the fact that it was done with intent， as he feared lest any one should take it away； and as this conviction made her sorry that she had been so impetuous as to have cut the scented bag， she lowered her head and uttered not a word.

"there was really no need for you to have cut it，" Precious Jade observed； "but as I know that you're loth to give me anything， what do you say to my returning even this purse？"

With these words， he threw the purse in her lap and walked off； which vexed Mascara Jade so much the more that， after giving way to tears， she took up the purse in her hands to also destroy it with the scissors， when Precious Jade precipitately turned round and snatched it from her grasp.

"My dear cousin，" he smilingly pleaded， "do spare it！" and as Mascara Jade dashed down the scissors and wiped her tears： "You needn't，" she urged， "be kind to me at one moment， and unkind at another； if you wish to have a tiff， why then let's part company！" But as she spoke， she lost control over her temper， and， jumping on her bed， she lay with her face turned towards the inside， and set to work drying her eyes.

Precious Jade could not refrain from approaching her. "My dear cousin， my own cousin，" he added， "I confess my fault！"

"Go and find Precious Jade！" dowager Grandma Merchant thereupon gave a shout from where she was in the front apartment， and all the attendants explained that he was in Miss Lin's room.

"All right， that will do！ that will do！" her ladyship rejoined， when she heard this reply； "let the two cousins play together； his father kept him a short while back under check， for ever so long， so let him have some distraction. But the only thing is that you mustn't allow them to have any quarrels." To which the servants in a body expressed their obedience.

Mascara Jade， unable to put up with Precious Jade's importunity， felt compelled to rise. "Your object seems to be，" she remarked， "not to let me have any rest. If it is， I'll run away from you." Saying which， she there and then was making her way out， when Precious Jade protested with a face full of smiles： "Wherever you go， I'll follow！" and as he， at the same time， took the purse and began to fasten it on him， Mascara Jade stretched out her hand， and snatching it away， "You say you don't want it，" she observed， "and now you put it on again！ I'm really much ashamed on your account！" And these words were still on her lips when with a sound of Ch'ih， she burst out laughing.

=Yāo Yáng 么阳=
宝玉道：“好妹妹，明儿另替我做个香袋儿罢。”黛玉道：“那也瞧我的高
兴罢了。”

一面说，一面二人出房，到王夫人上房中去了，可巧宝钗亦在那里。此时
王夫人那边热闹非常。原来贾蔷已从姑苏采买了十二个女孩子并聘了教习以
及行头等事来了。那时薛姨妈另迁于东北上一所幽静房舍居住，将梨香院另行
修理了，就令教习在此教演女戏；又另派家中旧曾学过歌唱的众女人们——如
今皆是皤然老妪，着他们带领管理。就令贾蔷总理其日月出入银钱等事，以及
诸凡大小所需之物料账目。

又有林之孝家的来回：“采访聘买得十二个小尼姑、小道姑，都到了，连新
做的二十分道袍也有了。外又有一个带发修行的，本是苏州人氏，祖上也是读
书仕宦之家，因自幼多病，买了许多替身，皆不中用，到底这姑娘入了空门，方才
好了，所以带发修行。今年十八岁，取名妙玉。如今父母俱已亡故，身边只有两
个老嬷嬷、一个小丫头伏侍。文墨也极通，经典也极熟，模样又极好。因听说
‘长安’都中有观音遗迹，并贝叶遗文，去年随了师父上来，现在西门外牟尼院
住着。他师父精演先天神数，于去冬圆寂了。遗言说他：‘不宜回乡，在此静候，
自有结果。’所以未曾扶灵回去。”王夫人便道：“这样我们何不接了他来？”林之
孝家的回道：“若请他，他说：‘侯门公府，必以贵势压人，我再不去的。’”
Precious Jade said:” Friendly sister, please make a perfume pouch for me in future.” Mascara Jade replied:” That is up to my mood.” While speaking, they left for Lady King’s best room. Precious Hairpin happened to be there. Meanwhile, there was a noise for Rose Merchant had bought twelve girls and employed instructors and professional clothes. At that time, Aunt Marshgrass moved to a quiet house in the northeast, so Pear Fragrance Court was repaired and used for play-training to those girls. And other women in the house who learned singing, now old, was sent to help to manage. Rose Merchant was ordered to take charge in the daily expenses, the tally and other things.
Filial Piety Forest's Wife came and said:” The twelve buddhist nuns and Taoist nuns all arrived. The twenty new-made costumes are ready. Besides, there is a haired nun. She is from Soochow. Her family has the tradition of reading and being official. Because of her weak body, though many selected ringers, she has to serve a religious belief in person. After doing so, her health became better. That’s why she still has hair. Now she is 18 years old and named Wonderful Jade. Her parents died, only two old women and a little girl looking after her. She is not only beautiful but also good at reading and writing and she is familiar with classics. Heard of there are Avalokitesvara (Guanyin) relics and the remains of buddhist texts writing on the leaves in Forever Peaceful Capital, she came with her master last year. He was good at reading one’s fortune, but he died in winter. And in his last words, he said ‘It is not suitable to return hometown. Stay still and soon the answer appears.’ So she didn’t sent the remains of her master back to hometown. Now she lives in the Muny yard.” Lady King said: “ Why not pick her up?” Filial Piety Forest's Wife answered: “ If so, she would say: ‘The noble family always overwhelm people with their power, I don’t want to go.’”

“Dear cousin, do make me another sachet tomorrow.” “We’ll have to see how I feel.” They went together then to Lady Wang’s quarters where they happened to find Baochai. Everyone was in a state of great excitement, as the twelve young actresses bought by Jia Qiang in Suzhou had just arrived, together with the instructors he had hired and the costumes for the operas they would perform. Aunt Xue had moved to quiet, secluded quarters in the northeast part of the grounds, and Pear Fragrance Court had been made ready for the rehearsals. Some family maids who had once trained as opera-singers themselves but were now hoary dames were sent to look after the little actresses, while Jia Qiang was put in charge of their daily expenses and the provision of everything they required. Just at this time, Lin Zhixiao’s wife came to report, “The twenty-four little nuns---twelve Buddhist and twelve Taoist---whom I selected and purchased have now arrived, and their twenty-four new habits are ready. There’s another girl, too, who had entered holy orders without shaving her head. She comes from a Suzhou family of scholars and officials. She was delicate as a child, and although they bought many substitute novices for her it was no use---her health didn’t improve until she joined the Buddhist order herself. That’s how she became a lay sister. She’s eighteen this year and her name in religion is Miaoyu. Her parents are dead now and she only has two old nurses and one maid to look after her. She’s widely read and well-versed in the sutras, besides being very good-looking. She came to the capital last year, having heard there were relics of Guanyin here and canons inscribed on pattra leaves. She’s been living in the Sakyamuni Convent outside the West Gate. Her tutor was an excellent diviner, but she passed away last winter. Miaoyu had meant to escort the coffin back to her native place; but as her tutor lay dying she told the girl not to go back home but to wait quietly where she was for something fortune had in store for her. So， she didn’t accompany the coffin back.” “In that case, why not ask her here?” put in Lady Wang. “She’d refuse,” objected Lin Zhixiao’s wife. “She’d be afraid of being looked down on in a noble household.”----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])

=Yì Míngxiá 易明霞=
王夫人
道：“他既是宦家小姐，自然要傲些，就下个请帖请他何妨？”林之孝家的答应着
出去，叫书启相公写个请帖去请妙玉，次日遣人备车轿去接。不知后来如何，且
听下回分解。

◎第十八回皇恩重元妃省父母天伦乐宝玉呈才藻

话说被时有人回，工程上等着糊东西的纱绫，请凤姐去开库拿纱绫；又有人
来回，请凤姐开库收金银器皿。王夫人并上房丫鬟等皆不得空闲。宝钗说：
“咱们别在这里碍手碍脚。”说着，同宝玉等往迎春房中来。

王夫人日日忙乱，直到十月里才全备了，监督都交清账目；各处古董文玩，
俱已陈设齐备；采办鸟雀，自仙鹤、鹿、兔以及鸡、鹅等，已买全，交于园中各处饲
养；贾蔷那边也演出二十出杂戏来；一班小尼姑、道姑也都学会念佛经咒。于是
贾政方略心安意畅，又请贾母等到园中，色色斟酌，点缀妥当，再无些微不当之
处。贾政才敢题本。本上之日，奉旨：“于明年正月十五日上元之日贵妃省
亲。”贾府奉了此旨，一发日夜不闲，连年亦不曾好生过的。

转眼元宵在迩，自正月初八，就有太监出来，先看方向：何处更衣，何处燕
坐，何处受礼，何处开宴，何处退息。又有巡察地方总理关防太监，带了许多小
太监来各处关防，挡围幕；指示贾宅人员何处出人，何处进膳，何处启事，种种仪
注。
“A young lady from an official family is bound to be rather proud,” agreed Lady King. “Why not send her a written invitation?” Obedience Forest’s wife agreed and left. One of the secretaries was instructed to make out an invitation, and the following days servants were senet with a carriage and leave that till later.
Chapter 18
Unit Spring Visits Her Parents on the Feast of Lanterns
Mascara Jade Helps Precious Jade by Passing Him a Poem
A servant came just then to request Sister Phoenix to open the storeroom and issue the gauze and silk needed by the workmen fore screens. Another asked her to store away the gold and silver utensils. Meanwhile Lady King and her maids were busy too. So Precious Jade suggested, “Let’s not stay here where we’re only in the way. Let’s go and find Seeking-spring.” She took Precious Jade and Mascara Jade to the rooms of Spring Pleasure and others to while away the time. For Lady King and her helpers, the days passed in a flurry of preparations until, towards the end of the tenth month, all was ready. The stewards had handed in their accounts: antiques and precious objects had been set out; the pleasure grounds were well-stocked with cranes, peacocks, deer, rabbits, chicken and geese to be reared in appropriate places; Wall Merchant had twenty operas ready; and the little Buddhist and Taoist nuns had memorized various sutras and incantations. The Policy Merchant, able at last to breathe more freely, invited the Lady Dowager to make a final inspection of the Garden and see that all was in order with nothing overlooked. This done, he chose an auspicious date and wrote a memorial, and the very same day that it was presented the Son of Heaven permitted to visit her parents for the Feast of Lanterns on the fifteenth of the first month the following year.
This threw the whole household into such a commotion that, hard at work day and night, they scarcely had time to celebrate the New Year. In a twinkling the Feast of Lanterns would arrive. On the eighth of the first month eunuchs came from the Palace to inspect the general layout of the Garden and the apartment where the Imperial consort would change her clothes, sit with her family, receive their homage, feast them and retire to rest. The eunuch in charge of security also posted many younger eunuchs as guards by the screened and curtained to the retiring rooms. Detailed instructions were given to all members of the household as to where they should withdraw, where they should kneel, serve food or make announcements—all the exact etiquette to be observed.

“A young lady from an official family is bound to be rather proud,” agreed Lady King. “Why not send her a written invitation?” Obedience Forest’s wife agreed and left. One of the secretaries was instructed to make out an invitation, and the following days servants were senet with a carriage and sedan-chair to fetch Wonderful Jade. As to what followed, we can leave that till later.

Chapter 18 Unit Spring Visits Her Parents on the Feast of Lanterns Mascara Jade Helps Precious Jade by Passing Him a Poem
A servant came just then to request Sister Phoenix to open the storeroom and issue the gauze and silk needed by the workmen fore screens. Another asked her to store away the gold and silver utensils. Meanwhile Lady King and her maids were busy too. So Precious Hairpin Marshgrass suggested, “Let’s not stay here where we’re only in the way. Let’s go and find Seeking-spring.” Then she took Precious Jade to the rooms of Spring Pleasure and others to while away the time. For Lady King and her helpers, the days passed in a flurry of preparations until, towards the end of the tenth month, all was ready. The stewards had handed in their accounts: antiques and precious objects had been set out; the pleasure grounds were well-stocked with cranes, peacocks, deer, rabbits, chicken and geese to be reared in appropriate places; Wall Merchant had twenty operas ready; and the little Buddhist and Taoist nuns had memorized various sutras and incantations. The Policy Merchant, able at last to breathe more freely, invited the Lady Dowager to make a final inspection of the Garden and see that all was in order with nothing overlooked. This done, he chose an auspicious date and wrote a memorial, and the very same day that it was presented the Son of Heaven permitted to visit her parents for the Feast of Lanterns on the fifteenth of the first month the following year. This threw the whole household into such a commotion that, hard at work day and night, they scarcely had time to celebrate the New Year. In a twinkling the Feast of Lanterns would arrive. On the eighth of the first month eunuchs came from the Palace to inspect the general layout of the Garden and the apartment where the Imperial consort would change her clothes, sit with her family, receive their homage, feast them and retire to rest. The eunuch in charge of security also posted many younger eunuchs as guards by the screened and curtained to the retiring rooms. Detailed instructions were given to all members of the household as to where they should withdraw, where they should kneel, serve food or make announcements—all the exact etiquette to be observed.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 23:22, 25 May 2021 (UTC)

=Yuán Jìng 袁静=
外面又有工部官员并五城兵马司打扫街道，撵逐闲人。贾赦等监督匠人扎
花灯烟火之类，至十四日，俱已停妥。这一夜，上下通不曾睡。

至十五日五鼓，自贾母等有爵者，俱各按品大妆。大观园内帐舞蟠龙，帘
飞彩凤，金银焕彩，珠宝生辉，鼎焚百合之香，瓶插长春之蕊，静悄悄无一人咳
嗽。贾赦等在西街门外，贾母等在荣府大门外。街头巷口，用围幕挡严。正等
的不耐烦，忽见一个太监骑匹马来了，贾政接着，问其消息。太监云：“早多着
呢！未初用晚膳，未正还到宝灵宫拜佛，酉初进大明宫领宴看灯方请旨，只怕戌
初才起身呢。”凤姐听了道：“既这样，老太太与太太且请回房，等到了时候，再来
也未为晚。”于是贾母等且自便去了。园中赖凤姐照料。执事人等，带领太监
们去吃酒饭，一面传人挑进蜡烛，各处点起灯来。

忽听外面跑马之声不一，有十来个太监，喘吁吁跑来拍手儿。这些太监都
会意，知道是来了，各按方向站立。贾赦领合族子弟在西街门外，贾母领合族女
眷在大门外迎接，半日静悄悄的。忽见两个太监骑马缓缓而来，至西街门下了
马，将马赶出围幕之外，便面西站立。半日又是一对，亦是如此。少时便来了十
来对，方闻隐隐鼓乐之声，一对对龙旌凤翣，雉羽宫扇，又有销金提炉，焚着御
香；然后一把曲柄七凤金黄伞过来，便是冠袍带履。

There were officers of the Ministry of Works and the Chief of the Metropolitan Police sweeping and clearing the streets. Jia she supervised craftsmen making festive lanterns and fireworks. By fourteen, everything was ready. And no one slept at that night. Next day all those with official ranks from Lady Jia put on full ceremonial dresses since 3. am. In the garden, hangings and screens were everywhere, which were embroidered with dangcing dragons and flying phoneix. Gold and silver glittered; pearls and precious stones shimmered. Richly blended incense burnt in the bronze tripods, and fresh flowers filled the vases, silent without any cough.Jia She and the other men waited outside in the west street entrance, while the Lady Dowager and the women waited outside the main gate. The ends of the street and the alleys leading to it all had been screened off. They were growing patiently when a eunuch approached on a big horse. The Lady Dowager welcomed him in and asked for news. “It will be a long time yet,” the eunuch told her. “She is to dine at one, then pray to Buddha in the Palace of the Precious Spirit at half past two, and at five go to feast in the Palace of Great Splendour and look at the display of lanterns before asking leave from the Emperor. She can hardly set out until seven.” Phoenix King said," Such being the case, Lady Dowager and Lady Wang should go inside to rest and come back later." So the Lady Dowager and others retired, leaving Xifeng in charge. She ordered the stewards to invite the eunuchs for treats. Then she had loads of candles carried in for all the lanterns. It was when the candles was lit that a clatter of hooves was heard in the street. The next moment ten or more eunuchs came, clapping their hands as they ran. At this signal the other eunuchs said, “Her Highness is coming!” They all rushed to their posts. Jia She and the young men of the family stood by the entrance of the west street, the Lady Dowager and the women in front of the main gate. It was silent for a long time. Then two eunuchs wearing scarlet uniforms rode slowly up to the entrance of the west street. Dismounting, they led their horses behind the screens, then stood to attention, turning towards the west. After some time another pair of eunuchs appeared, then another, until there were ten pairs lined up and soft music could be heard in the distance. Several pairs of eunuchs carryied dragon banners, others with phoenix fans, pheasant plumes and ceremonial insignia, as well as gold censers burning Imperial incense. Next came a curved-handled yellow umbrella on which were embroidered seven phoenixes, and under this a head-dress, robe, girdle and slippers. After that deacon eunuchs came, bearing a rosary, embroidered handkerchiefs, a rinse-bowl, fly-whisks and the like.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 23:48, 13 May 2021 (UTC)

There were officers of the Ministry of Works and the Chief of the Metropolitan Police sweeping and clearing the streets outside. Pardon Merchant supervised craftsmen making festive lanterns and fireworks. By fourteen, everything was ready. And no one slept at that night. Next day all those with official ranks from Lady Merchant put on full ceremonial dresses since 3. am. In the garden, hangings and screens were everywhere, which were embroidered with dangcing dragons and flying phoneix. Gold and silver glittered; pearls and precious stones shimmered. Richly blended incense burnt in the bronze tripods, and fresh flowers filled the vases, silent without any cough. She and the other men waited outside in the west street entrance, while the Lady Dowager and the women waited outside the main gate. The ends of the street and the alleys leading to it all had been screened off. They were growing patiently when a eunuch approached on a big horse. The Lady Dowager welcomed him in and asked for news. “It will be a long time yet,” the eunuch told her. “She is to dine at one, then pray to Buddha in the Palace of the Precious Spirit at half past two, and at five go to feast in the Palace of Great Splendour and look at the display of lanterns before asking leave from the Emperor. She can hardly set out until seven.” Phoenix King said," Such being the case, Lady Dowager and Lady Wang should go inside to rest and come back later." So the Lady Dowager and others retired, leaving Xifeng in charge. She ordered the stewards to invite the eunuchs for treats. Then she had loads of candles carried in for all the lanterns. It was when the candles was lit that a clatter of hooves was heard in the street. The next moment ten or more eunuchs came, clapping their hands as they ran. At this signal the other eunuchs said, “Her Highness is coming!” They all rushed to their posts. Pardon Merchant and the young men of the family stood by the entrance of the west street, the Lady Dowager and the women in front of the main gate. It was silent for a long time. Then two eunuchs wearing scarlet uniforms rode slowly up to the entrance of the west street. Dismounting, they led their horses behind the screens, then stood to attention, turning towards the west. After some time another pair of eunuchs appeared, then another, until there were ten pairs lined up and soft music could be heard in the distance. Several pairs of eunuchs carryied dragon banners, others with phoenix fans, pheasant plumes and ceremonial insignia, as well as gold censers burning Imperial incense. Next came a curved-handled yellow umbrella on which were embroidered seven phoenixes, and under this a head-dress, robe, girdle and slippers. After that deacon eunuchs came, bearing a rosary, embroidered handkerchiefs, a rinse-bowl, fly-whisks and the like--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 03:13, 22 May 2021 (UTC)

=Zhào Kē 赵轲 Mr.=
又有执事太监捧着香巾、绣
帕、漱盂、拂尘等物。一队队过完，后面方是八个太监抬着一顶金顶金黄绣凤銮
舆，缓缓行来。贾母等连忙跪下，早有太监过来，扶起贾母等，那銮舆抬入大门、
仪门往东一所院落门前，有太监跪请下舆更衣。于是抬舆入门，太监散去，只有
昭容、彩嫔等引元春下舆。只见苑内各色花灯熌灼，皆系纱绫扎成，精致非常。
上面有一灯匾，写着“体仁沐德”四个字，元春入室，更衣出，复上舆进园。只
见园中香烟缭绕，花影缤纷，处处灯光相映，时时细乐声喧，说不尽这太平景象，
富贵风流。

却说贾妃在轿内看了此园内外光景，因点头叹道：“太奢华过费了！”忽又
见太监跪请登舟，贾妃下舆登舟，只见清流一带，势若游龙，两边石栏上，皆系水
晶玻璃各色风灯，点的如银光雪浪；上面柳杏诸树，虽无花叶，却用各色绸绫纸
绢及通草为花，粘于枝上，每一株悬灯万盏；更兼池中荷荇凫鹭之属，亦皆系螺
蚌羽毛做就的，诸灯上下争辉，真是玻璃世界，珠宝乾坤。船上又有各种盆景
灯，珠帘绣幕，桂楫兰桡，自不必说。已而入一石港，港上一面匾灯，明现着“蓼
汀花溆”四字。

看官听说：这“蓼汀花溆”四字及“有凤来仪”等字，皆系上回贾政偶试宝玉
之才，何至便认真用了？想贾府世代诗书，自有一二名手题咏，岂似暴发之家，
竟以小儿语搪塞了事呢？

There are also deacon eunuchs holding incense towels, embroidered handkerchiefs, gargle pots, feather dusts and other things. After passing by team by team, the back side is eight eunuchs carrying a golden yellow embroidery phoenix imperial carriage, slowly get closer.(After these deacon eunuchs passing by group by group,there came another eight eunuchs in the back side...--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 15:20, 8 June 2021 (UTC)) Grandma Merchant hurriedly knelt down, and early eunuchs came to help Grandma Merchant. The imperial carriage was carried into the gate, and along with the gate to the east of a courtyard in front of the eunuchs kneeling. They asked Princess Merchant and her servants got off and changed clothes with their help. So carrying the imperial carriage in, eunuchs were dismissed, and only Braw Appearance and Colourful Concubine helped First Spring get off. In the garden, all kinds of lanterns were like burning, and all were made of gauze satin which were exquisite. There was a light plaque above, written four words, “body benevolence and covered with morality” . First Spring getting into the room, changed clothes, and then went into the park. She saw the garden wreathed by fragrant smoke, with colorful shadows, lights everywhere, fine music loud. This was a peaceful scene with wealth and admiration, which should be difficult to be described.

But Princess Merchant looked at the scene outside the carriage. She nodded and sighed, "It is too luxurious and expensive!" Suddenly eunuchs kneeling to ask for boats, Princess Merchant then got on the boat. The clear stream lay a line, like a wandering dragon and on both sides of the stone fence, there were all crystal glass colorful wind lamps, such as silver light snow waves; The willow apricot trees above, though they have no flowers and leaves, were glued to the branches with colorful silk and silk paper and grass. Each tree was hung with thousands of lights. And the floating heart heron in the pool, were also made of snail feathers, the lights up and down competing, was really a world of glass, jewelry. There were also various bonsai lamps, beaded curtains and embroidered curtains, beautiful boats and orchards, which were needless to talk about. In the past, they had entered a stone port. There was a board lamp on the port, and the words "Smartweed Amifostine Flower Waterside" were visible.

The magistrate was told that the word "Smartweed Amifostine Flower Waterside" and the word "A Phoenix Comes with Grace to Rest" were both words that Master Merchant had tried Precious Jade’s talent last time. Why had it been using it seriously? Thinking about Merchant Mansion’s generation(generations--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 15:20, 8 June 2021 (UTC)) of poetry, of course it should keep some perfect poem(poems--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 15:20, 8 June 2021 (UTC)). For Merchant Mansion, instead of a new money, why it had been prevaricated with some innocent words?--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 14:03, 7 May 2021 (UTC)

=Bào Qìnwén 鲍沁雯=
只固当日这贾妃未入宫时，自幼亦系贾母教养。后来
添了宝玉，贾妃乃长姊，宝玉为幼弟，贾妃念母午将迈，始得此弟，是以独爱怜
之。且同侍贾母，刻未相离。那宝玉未入学之先，三四岁时，已得贾妃口传教授
了几本书，识了数千字在腹中。虽为姊弟，有如母子。自入宫后，时时带信出来
与父兄说：“千万好生扶养，不严不能成器；过严恐生不虞，且致祖母之忧。”眷念
之心，刻刻不忘。前日贾政闻塾师赞他尽有才情，故于游园对聊一试之，虽非名
公大笔，却是本家风味；且使贾妃见之，知爱弟所为，亦不负其平日切望之意。
因此故将宝玉所题用了。那日未题完之处，后来又补题了许多。

且说贾妃看了四字，笑道：“‘花溆’二字便好，何必‘蓼汀’？”侍坐太监听
了，忙下舟登岸，飞传与贾政，贾政即刻换了。彼时舟临内岸，去舟上舆，便见琳
宫绰约，桂殿巍峨，石牌坊上“天仙宝境”四大字，贾妃命换了“省亲别墅”四字。
于是进入行宫，只见庭燎绕空，香屑布地，火树琪花，金窗玉槛。说不尽帘卷虾
须，毯铺鱼獭，鼎飘麝脑之香，屏列雉尾之扇。真是：

金门玉户神仙府，桂殿兰宫妃子家。
贾妃乃问：“此殿何无匾额？”随侍太监跪启道：“此系正殿，外臣未敢擅拟。”贾
妃点头不语。礼仪太监请升座受礼，两阶乐起。
The Imperial Consort, before she entered the Palace, had been brought up from childhood by the Lady Dowager. And after Precious Jade was born, as Princess Merchant was his elder sister and Precious Jade her younger brother, bearing in mind that their mother had given birth to him late in life, she loved him more than her other brothers and lavished all her care on him. They both stayed with their grandmother and were inseparable. Even before Precious Jade started school, when he was hardly four years old, she taught him to recite several texts and to recognize several thousand characters. she was more like a mother to him than an elder sister. After she entered the Palace she often wrote letters home reminding her parents to educate him well, for unless strictly disciplined he would not amount to much, but if treated too sternly he might also give them cause for anxiety. Her loving concern for him had never ceased. Treasure Merchant, earlier on, had scarcely believed the tutor’s report that Precious Jade had a flair for literary composition. As the Garden happened then to be ready for inspection, he had called on his son for inscriptions in order to test him. And although Precious Jade’s childish efforts were far from inspired, at least they were passable. The family could easily enough have enlisted the help of famous scholars; but it seemed to them that a special interest attached to names chosen by a member of the house. Besides, when the Imperial Consort learned that these were the work of her beloved younger brother, she would feel that he had not fallen short of her hopes. For these reasons Precious Jade’s inscriptions were adopted. Not all had been chosen that day; some he supplied later. But enough of this. When the Imperial Consort saw this name, she commented with a smile: "Just Flowery Harbor" would do. Why Smart-weed Bank" too?" As soon as the eunuch in attendance heard this, he hastily disembarked and went ashore to report to Master Merchant, who immediately had the alteration made. Meanwhile the boat had reached the further shore and again Princess Merchant mounted her palanquin. Before her now there towered the beautiful hall of an imposing palace. The marble archway in front of it bore the inscription: Precious Realm for the Immortal." At once she ordered this to be changed to House of Reunion" As she entered this temporary palace, she saw torches in the courtyard flaring to the sky, powdered incense strewing the ground, flaming trees, jasper flowers, gilded windows and jade balustrades, to say nothing of screens as fine as the shrimp’ s antennae, carpets of otter-skin, musk burning in tripods, and fans made from pheasant plumage. Truly this was: An abode with golden gates and jade doors fit for immortals, its cassia and orchid chambers a worthy setting for the Imperial Consort. After glancing around she asked, "Why has this place no name?" The eunuch attendant fell on his knees. "Because this is the main palace," he replied," no subject outside the Court dared suggest a name.” The eunuch attendant fell on his knees. Because this is the main palace," he replied, "no subject outside the Court dared suggest a name.” The Imperial Consort nodded and said nothing. Another eunuch, the Master of Ceremonies, knelt and begged her to sit in a chair of state to receive the obeisances of her family. On both sides of the steps music was played as two eunuchs ushered in.

The Imperial Consort, before she entered the Palace, had been brought up from childhood by the Grandma Merchant. And after Precious Jade was born, as Princess Merchant was his elder sister and Precious Jade her younger brother, bearing in mind that their mother had given birth to him late in life, she loved him more than her other brothers and lavished all her care on him. They both stayed with their grandmother and were inseparable. Even before Precious Jade started school, when he was hardly four years old, she taught him to recite several texts and to recognize several thousand characters. she was more like a mother to him than an elder sister. After she entered the Palace she often wrote letters home reminding her parents to educate him well, for unless strictly disciplined he would not amount to much, but if treated too sternly he might also give them cause for anxiety. Her loving concern for him had never ceased. Master Merchant, earlier on, had scarcely believed the tutor’s report that Precious Jade had a flair for literary composition. As the Garden happened then to be ready for inspection, he had called on his son for inscriptions in order to test him. And although Precious Jade’s childish efforts were far from inspired, at least they were passable. The family could easily enough have enlisted the help of famous scholars; but it seemed to them that a special interest attached to names chosen by a member of the house. Besides, when the Imperial Consort learned that these were the work of her beloved younger brother, she would feel that he had not fallen short of her hopes. For these reasons Precious Jade’s inscriptions were adopted. Not all had been chosen that day; some he supplied later. But enough of this. When the Imperial Consort saw this name, she commented with a smile: "Just Flowery Harbor" would do. Why Smart-weed Bank" too?" As soon as the eunuch in attendance heard this, he hastily disembarked and went ashore to report to Master Merchant, who immediately had the alteration made. Meanwhile the boat had reached the further shore and again Princess Merchant mounted her palanquin. Before her now there towered the beautiful hall of an imposing palace. The marble archway in front of it bore the inscription: Precious Realm for the Immortal." At once she ordered this to be changed to House of Reunion" As she entered this temporary palace, she saw torches in the courtyard flaring to the sky, powdered incense strewing the ground, flaming trees, jasper flowers, gilded windows and jade balustrades, to say nothing of screens as fine as the shrimp’ s antennae, carpets of otter-skin, musk burning in tripods, and fans made from pheasant plumage. Truly this was: An abode with golden gates and jade doors fit for immortals, its cassia and orchid chambers a worthy setting for the Imperial Consort. After glancing around she asked, "Why has this place no name?" The eunuch attendant fell on his knees. "Because this is the main palace," he replied," no subject outside the Court dared suggest a name.” The Imperial Consort nodded and said nothing. Another eunuch, the Master of Ceremonies, knelt and begged her to sit in a chair of state to receive the obeisances of her family. On both sides of the steps music was played as two eunuchs ushered in.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 05:47, 7 June 2021 (UTC)

=Chén Kērǔ 陈柯汝=
二太监引贾赦贾政等于月台下
排班上殿，昭容传谕日：“免。”乃退出。又引荣国太君及女眷等自东阶升月台
上排班，昭容再谕口：“免。”于是亦退。

茶三献，贾妃降座，乐止；退入侧室更衣，方备省亲车驾出园。至贾母正室，
欲行家礼，贾母等俱跪止之。贾妃垂沮，彼此上前厮见，一手挽贾母，一手挽王
夫人，三个人满心皆有许多话，俱说不出，只是呜咽对泣而已。邢夫人、李纨、王
熙凤、迎春、探春、惜春等，俱在旁垂泪无言。半日，贾妃方忍悲强笑，安慰贾母
王夫人道：“当日既送我到那不得见人的去处，好容易今日回家，娘儿们一会不
说不笑，反到哭个不了，一会子我去了，又不知多早晚才能一见！”说到这句，不
禁又哽咽起来。邢夫人忙上来劝解。贾母等让贾妃归坐，又逐次一一见过，又
不免哭泣一番。然后东西两府执事人等在外厅行礼。其媳妇丫鬟行礼毕。贾
妃叹道：“许多亲眷，可惜都不能见面。”王夫人启道：“现有外亲薛王氏及宝钗
黛玉在外候旨。外誊无职，不敢擅入。”贾妃命请来相见。一时薛姨妈等进来，
欲行国礼，命免过，上前各叙阔别。又有贾妃原带进宫的丫鬟抱琴等叩见，贾母
连忙扶起，命人别室款待。执事太监及彩嫔昭容各侍从人等，宁府及贾赦那宅
两处自有人款待，只留三四十小太监答应。

Two eunuchs ushered Pardon Merchant and Master Merchant to range below the dais. Pardon Merchant and Master Merchant were waiting for visiting Imperial Consort, but were exempted from the ceremony and they withdrew. And then the Lady Dowager of the Rong Mansion and the female relatives were led up the east flight of steps to the dais, but they too were exempted from the ceremony and shown out. After tea had been served three times, First Spring Merchant sat down and music stopped. She dressed up herself in a side chamber and ordered carriages for home to be prepared; and she set up. She arrived at the Lady Dowager’s reception room to pay her respects as a grand-daughter of the house, but before she could do so her grandmother and the other knelt to prevent her. She was crying when she was approaching Lady Dowager and Lady King. She linked her arms with the two. They could not speak out one word but sob though they had a lot to share. Others were sobbing silently: Lady City, Silk Plum, Splendid Phoenix King, Spring-cherish Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant and so on. Only after a long time could First Spring Merchant refrain from soreness and squeeze out a smile. Then she comforted Lady King and Lady Dowager: “After all the trouble, I managed to go back home since you sent me to the untoward place. You ladies did not welcome me with smiles, but non-stop crying. I don’t know when we will meet next time after my leaving this time.” She whimpered. Lady City consoled her in a hurry and Lady Dowager persuaded her to sit down. Then, she changed courtesies with each in turn with sobbing. Next the stewards and attendants of both mansions paid their respects outside the door, and so did their wives and the maids. First Spring Merchant sighed: “ What a pity that I can’t see many other family members.” Lady City started: “Aunt Marshgrass, Precious Hairpin Marshgrass, and Mascara Jade Forest are waiting outside, not being members of the Jia family and having no official status.” First Spring Merchant(Imperial Concubine Merchant) asked them to come in. Aunt Marshgrass, as well as others entered and wanted to pay homage according to Palace etiquette but were exempted by First Spring Merchant. And then they chatted. Musical Instrument Carrier, Imperial Concubine Merchant’s attendant who followed her to the palace kowtowed, and was lifted up by Lady Dowager quickly, who ordered another room to treat her well. Deacon eunuchs and ladies-in-waiting were entertained by members of the staff of both mansions, leaving only three or four young eunuchs in attendance.

Two eunuchs ushered Pardon Merchant and Master Merchant to range under the stairs. Pardon Merchant and Master Merchant were waiting for visiting Imperial Consort exempted from the ceremony and they withdrew. And then the Grandma Merchant of the Rong Mansion and the female relatives were led up the east flight of steps to the dais, and they too were exempted from the ceremony and shown out.

After tea had been served three times, First Spring Merchant sat down with the music stopped. She dressed up herself in a side chamber and ordered the servants to prepare carriages for home. She arrived at Grandma Merchant’s reception room to pay her respects as a grand-daughter of the house, but before she could do so her grandmother and other relatives all knelt to prevent her action. She was crying when she was getting closer to Grandma Merchant and Lady King. She linked her arms with the two. They could not speak out one word but sobbing though they had a lot to share. Others were sobbing silently: Lady City, Silk Plum, Splendid Phoenix King, Cherishing Spring Merchant, Spring Pleasure Merchant, Seeking-Spring Merchant and so on. Only after a long time could First Spring Merchant refrain from soreness and squeezed out a smile. Then she comforted Lady King and Grandma Merchant: “After all the trouble, I’ve managed to go back home since you sent me to the untoward place. You ladies did not welcome me with smiles, but non-stop crying. I don’t know when we will meet next time after my leaving this time.” She whimpered. Lady City consoled her in a hurry and Grandma Merchant persuaded her to sit down. Then, she changed courtesies with each in turn with sobbing. Next the stewards and attendants of both mansions paid their respects outside the door, and so did their wives and the maids. First Spring Merchant sighed: “ What a pity that I can’t see many other family members.” Lady King started: “Aunt Marshgrass, Precious Hairpin Marshgrass, and Mascara Jade Forest are waiting outside, not being members of the Jia family and having no official status.” First Spring Merchant (Imperial Concubine Merchant) asked them to come in. Aunt Marshgrass, as well as others entered and wanted to pay homage according to Palace etiquette but were exempted by First Spring Merchant. And then they chatted. Musical Instrument Carrier, Imperial Concubine Merchant’s attendant who followed her to the palace kowtowed, and was lifted up by Grandma Merchant quickly, who ordered another room to treat her well. Deacon eunuchs and ladies-in-waiting were entertained by members of the staff of both mansions, leaving only thirty or forty young eunuchs in attendance.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 14:25, 6 June 2021 (UTC)

=Dài Mùyǔ 戴沐雨=
母女姊妹，叙些久别情景，及家务私
情。

又有贾政至帘外问安，贾妃于内行参等事。又向其父说道：“田舍之家，齑
盐布帛，得遂天伦之乐；今虽富贵，骨肉分离，终无意趣。”贾政亦含泪启道：“臣
草芥寒门，鸠群鸦属之中，岂意得征风鸾之瑞。今贵人上锡天恩，下昭祖德，此
皆山川日月之精奇、祖宗之远德钟于一人，幸及政夫妇。且今上体天地生生之
大德，垂古今未有之旷恩，虽肝脑涂地，岂能报效于万一！惟朝乾夕惕，忠于厥
职。伏愿我君万岁千秋，乃天下苍生之福也。贵妃切勿以政夫妇残年为念，更
祈自加珍爱，惟勤慎肃恭以侍上，庶不负上眷顾隆恩也。”贾妃亦嘱以“国事宜
勤，暇时保养，切勿记念。”贾政又启：“园中所有亭台轩馆，皆系宝玉所题；如果
有一二可寓目者，请即赐名为幸。”元妃听了宝玉能题，便含笑说道：“果进益
了。”贾政退出。元妃因问：“宝玉因何不见？”贾母乃启道：“无职外男，不敢擅
入。”元妃命引进来。小太监引宝玉进来，先行国礼毕，命他近前，携手揽于怀
内，又抚其头颈笑道：“比先长了好些……”一语未终，泪如雨下。

尤氏凤姐等上来启道：“筵宴齐备，请贵妃游幸。”元妃起身，命宝玉导引，
遂同诸人步至园门前。早见灯光之中，诸般罗列，进园先从“有凤来仪”、

There were lots of domestic affairs during the time of separation that her mom and sisters wanted to share with her.

Master Merchant also paid his respect standing outside the curtain, Concubine Merchant asked for the other things inside. Then she talked to her father: "In peasant family, they can still be together to enjoy the family time with crude salt and plain clothes; although we are wealthy now, we have to tolerate the situation of being separated, lacking union and entertainment." Filled with tears, Master Merchant replied: "I was born poorly and in the class of poultry in the society, never imagining our fortune of accepting the appreciation of the Emperor. At present you received the favor of god and inherited the will of ancestors, converging the essence of the nature and the morality of forefathers to one person, which is absolutely our pleasure. Additionally, the Emperor sympathized with sky and earth understandingly and enacted unprecedented gifts toward us. We can return for little compared with what he has done though throwing our liver and brain to the ground. What we could do is to be responsible for our position and hard-working day and night. That our Emperor could live for thousands of years would bring benefits to the whole society, which is our mere hope. Concubine should cherish yourself and be careful to serve the Emperor rather than worry about me and my wife due to our age, and only does that can you show respect to the gift of the Emperor." Concubine Merchant then enjoined that "When working, industrious to it; when resting, enjoy it. Don't miss me." Master Merchant responded: "The pavilions, terraces and halls in the garden were all entitled by Precious Jade Merchant. If you have witnessed one or two of them, please award a name for it as our pleasure." Hearing about Precious Jade's inscription, Concubine Yuan smiled: "It seems that he did make progress." Master Merchant exited. Then, Concubine Yuan asked: "Why does Precious Jade not here?" Grandma Merchant answered: "As a male without any official ranking, he dares not to come in." Concubine Yuan then asked someone to lead him in. The eunuch guided Precious Jade and after giving a salute required by the country, Concubine ordered him to come close, then grasping his hands and hugging him in the arms. At the time, Concubine tapped his head and smiled: "Growing much taller than before..." Having not finished the words, the tears came out of the eyes like the pouring rain.

Sister Phoenix and Madam Outstanding walked forward and reported: "The feast has already prepared, and we are pleased to invite you to come to enjoy it." Concubine Yuan stood up and asked Precious Jade to lead her, and then followed other people walking to the gateway.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 08:46, 8 June 2021 (UTC)

She had been separated from her mother and sister for such a long time that she had a lot to share with them. Master Merchant also paid his respect standing outside the curtain at this time, Concubine Merchant asked for the other things inside. Then she talked to her father with tears,"In peasant family, they can still be together to enjoy the family time with crude salt and plain clothes; although we are wealthy now, we have to tolerate the situation of being separated, lacking union and entertainment." With tears too Master Merchant replied, "I was born poorly and in the class of poultry in the society, never imagining our fortune of accepting the appreciation of the Emperor. At present you received the favor of god and inherited the will of ancestors, converging the essence of the nature and the morality of forefathers to one person, which is absolutely our pleasure. Additionally, the Emperor sympathized with sky and earth understandingly and enacted unprecedented gifts toward us. We can return for little compared with what he has done though throwing our liver and brain to the ground. What we could do is to be responsible for our position and hard-working day and night. That our Emperor could live for thousands of years would bring benefits to the whole society, which is our mere hope. Concubine should cherish yourself and be careful to serve the Emperor rather than worry about me and my wife due to our age, and only does that can you show respect to the gift of the Emperor." Concubine Merchant then enjoined that "When working, industrious to it; when resting, enjoy it. Don't miss me." Master Merchant responded, "The pavilions, terraces and halls in the garden were all entitled by Precious Jade . If you have find one or two of the buildings not too tame, please award a name for it as our pleasure." Hearing about Precious Jade's inscription, Concubine Yuan smiled, "It seems that he does make progress." Master Merchant withdrew. Then, Concubine Yuan asked, "Why does Precious Jade not here?" Grandma Merchant answered, "As a male without any official rank, he dares not to come in." Concubine Yuan then asked someone to lead him in. The eunuch guided Precious Jade and after giving a salute required by the country, Concubine ordered him to come close, then grasping his hands and hugging him in the arms. At the time, Concubine tapped his head and smiled: "Growing much taller than before..." Having not finished the words, the tears came out of the eyes like the pouring rain.

Sister Phoenix and Madam Outstanding walked forward and announced, "The feast is ready, and we are pleased to invite you to come to enjoy it." Concubine Yuan stood up and asked Precious Jade to lead her. Followed by others she walked to the gateway, where the sights were lit up by lanterns.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:18, 9 June 2021 (UTC)

=Dèng Dān 邓丹=
“红香
绿玉”、“杏帘在望”、“蘅芷清芬”等处，登楼步阁，涉水缘山，眺览徘徊。一处处
铺陈不一，一桩桩点缀新奇。贾妃极加奖赞，又劝：“以后不可太奢了，此皆过
分。”既而来至正殿，谕免礼归坐，大开筵宴，贾母等在下相陪，尤氏、李纨、凤姐
等捧羹把盏。

元妃乃命笔砚伺候，亲拂罗笺，择其喜者赐名。题其园之总名曰“大观
园”，正殿匾额云：“顾思思义”，对联云：
天地启宏慈，赤子苍生同感戴；古今垂旷典，九州万国被恩荣。
又改题：“有凤来仪”赐名“潇湘馆”，“红香绿玉”改作“怡红快绿”赐名“怡红
院”，“蘅芷清芬”赐名“蘅芜院”，“杏帘在望”赐名“浣葛山庄”；正楼曰“大观
楼”，东面飞楼曰“缀锦楼”，西面叙楼日“含芳阁”；更有“蓼风轩”、“藕香榭”、
“紫菱洲”、“荇叶渚”等名。又有四字匾额如“梨花春雨”、“桐剪秋风”、“获芦
夜雪”等名，不可胜纪。又命旧有匾联不可摘去。于是先题一绝句云：

衔山抱水建来精，多少工夫筑始成。夭上人间诸景备，芳园应锝“大
观”名。
写毕，向诸姊蛛笑道：“我素乏捷才，且不长于吟咏，姊妹辈素所深知；今夜聊以
塞责，不负斯景而已。异日少暇，必补撰‘大观园记’并‘省亲颂’等文，以记今
日之事。

Past “Where the Phoenix Alights,” “Crimson Fragrance and Green Jade,” “Approach to Apricot Tavern” and “Pure Scent of Alpinia and Iris” they strolled, mounting pavilions, crossing streams, climbing miniature hills and enjoying the view from various different points. All the buildings were distinctively furnished, and each corner had such fresh, unusual features that Yuanchun was lavish with her praise and approval. But she cautioned them: “You mustn’t be so extravagant in future. This is far too much!” When they reached the main reception palace she desired them to dispense with ceremony and take their seats. It was a sumptuous banquet. The Lady Dowager and the rest sat at tables on either side, while Madam You, Li Wan and Xifeng passed round dishes and poured the wine. Meanwhile Yuanchun asked for writing-brush and inkstone and with her own hand wrote names for the spots she liked best.
For the main reception palace she wrote the inscription:
Recalling Imperial Favour, Mindful of Duty. And the couplet:Compassion vast as the universe extends to old and young,
Grace unknown before honours every state and land.The pleasure grounds were named the Grand View Garden.“Where the Phoenix Alights” was renamed “Bamboo Lodge”.“Crimson Fragrance and Green Jade” was changed to “Happy Red and Delightful Green” and also called Happy Red Court. The name “Pure Scent of Alpinia and Iris” was altered to “Alpinia Park”. The “Approach to Apricot Tavern” became “Hemp Washing Cottage.” The main pavilion became “Grand View Pavilion”; Its eastern wing “Variegated Splendour Tower,” that on the west “Fragrant Tower.” Other names given were “Smartweed Breeze Cot”, “Lotus Fragrance Anchorage”, “Purple Caltrop Isle” and “Watercress Isle”. She composed a dozen or so other inscriptions too such as “Pear Blossom in Spring Rain”, “Plane Trees in Autumn Wind” and “Artemisia in Evening Snow”. The rest of the inscriptions cannot all be recorded here. The other former inscriptions at her order remained unaltered. Then the Imperial Consort wrote this verse: Enfolding hills and streams laid out with skill, what labor went to build this pleasure ground! For these, the finest sights of earth and heaven, Not fitter name than “Grand View” can be found. With a simile she showed this to the girls and said, “I have never had a ready wit or any skill in versifying, as all of you know, but tonight I had to try my hand at a verse in honor of these pleasure grounds. Some day when I have more time, I promise to write a Description of Grand View Garden and a panegyric called The Family Reunion to commemorate this occasion.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:58, 19 May 2021 (UTC)

The pleasure places were named the Grand View Garden.“Where the Phoenix Alights” was renamed “Bamboo Lodge”.“Crimson Fragrance and Green Jade” was changed to “Happy Red and Delightful Green” and also called Happy Red Court. The name “Pure Scent of Alpinia and Iris” was altered to “Alpinia Park”. The “Approach to Apricot Tavern” became “Hemp Washing Cottage.” The main pavilion became “Grand View Pavilion”; Its eastern wing “Variegated Splendour Tower,” that on the west “Fragrant Tower.” Other names given were “Smartweed Breeze Cot”, “Lotus Fragrance Anchorage”, “Purple Caltrop Isle” and “Watercress Isle”. She composed a dozen or so other inscriptions too such as “Pear Blossom in Spring Rain”, “Plane Trees in Autumn Wind” and “Artemisia in Evening Snow”. The rest of the inscriptions cannot all be recorded here. The other former inscriptions at her order remained unaltered. Then the Imperial Consort wrote this verse: Enfolding hills and streams laid out with skill, what labor went to build this pleasure ground! For these, the finest sights of earth and heaven, Not fitter name than “Grand View” can be found out. --[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:42, 2 June 2021 (UTC)Ding Zhongxia

=Dīng Zhòngxià 丁仲夏=
妹等亦各题一匾一诗，随意发挥，不可为我微才所缚。且知宝玉竟能
题咏，一发可喜。此中潇湘馆蘅芜苑二处，我所极爱；次之怡红院浣葛山庄，此
四大处，必得别有章句题咏方妙。前所题之联虽佳，如今再各赋五言律一首，使
我当面试过，方不负我自幼教授之苦心。”宝玉只得答应了，下来自去构思。

迎春、探春、惜春三人中，要算探春又出于姊妹之上，然自忖亦难与薛林争
衡，只得勉强随众塞责而已。李纨也勉强凑成一律。贾妃挨次看姊妹们的，写
道是：

旷性怡情(匾额)迎春

园成景物特精奇，奉命羞题额旷怡。谁信世间有此境，游来宁不畅神思？

万象争辉(匾额)探春

名园筑就势巍巍，奉命多惭学浅微。精妙一时言不尽，果然万物有光辉。

文章造化(匾额)惜春

山木横拖千里外，楼台高超五云中。园修日月光辉里，景夺文章造化功。

文采风流(匾额)李纨

秀水明山抱复回，风流文采胜蓬莱。绿裁歌扇迷芳草，红衬湘裙舞落梅。珠玉自应传盛世，神仙何幸下瑶台。名园一自邀游赏，未许凡人到此来。

Now I want each of you to write an inscription and a poem to go with it. Do your best, and don’t feel restricted by my lame attempt.
It was such a delightful surprise to me to find that Precious Jade can compose inscriptions and poems. The Bamboo Lodge and Alpinia Park are the places I like best, and after them Happy Red Court and Hemp Washing Cottage. We must have four poems specially written for these.
Although Precious Jade’s couplets composed earlier are charming, I want him now in my presence to write four lushi in five-character lines on each of these places. That will repay the efforts I made to teach him when he was a little boy.” Precious Jade had to agree and went off to rack his brains.
Of Yingchun, Tanchun and Xichun, Tanchun was the cleverest, but she realized that she was no match for Baochai and Mascara Jade. Still she had to write something, as the others were doing. Li Wan, too, contrived to compose a verse of sorts.
The Imperial Consort looked first at the girls’ attempts. Here is what they had written:
REFRESHING THE HEART (Yingchun)
Landscapes strange and rare here we find,
Bashfully, at the word of command, I take up my pen;
Who dreamed of such loveliness in the world of men?
A stroll through these grounds refreshes heart and mind.
ALL THINGS VIE IN SPLENDOUR (Tanchun)
This garden laid out with consummate art,
I blush, with my poor skill, its fame to render.
Past telling are the marvels in this place,
For here, indeed, all things compete in splendour.
REFINEMENT IN CREATION (Xichun)
This landscape stretches to infinity,
Its high pavilions soaring to the sky;
Laid out in radiance of the moon and sun,
Nature itself is by these scenes outdone.
Bright hills and crystal water intertwine,
No fairy isle is half as fair or fine.
Green fans of singers mid sweet herbs are lost,
Plum-petals by red skirts of dancers tossed.
Rare verses should record this golden hour,
Our joy at the nymph’s descent from jasper tower.
Once she has visited these lovely grounds,
No mortal foot may overstep their bounds.

The Imperial Consort looked first at the girls’ attempts. Here is what they had written:
REFRESHING THE HEART (Yingchun)
Landscapes strange and rare here we find,
Bashfully, at the word of command, I take up my pen;
Who dreamed of such loveliness in the world of men?
A stroll through these grounds refreshes heart and mind.
ALL THINGS VIE IN SPLENDOUR (Tanchun)
This garden laid out with consummate art,
I blush, with my poor skill, its fame to render.
Past telling are the marvels in this place,
For here, indeed, all things compete in splendour.
REFINEMENT IN CREATION (Xichun)
This landscape stretches to infinity,
Its high pavilions soaring to the sky;--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 08:30, 9 June 2021 (UTC)Ding Zhongxia

=Dù Xīnyǔ 杜心语=
凝晖钟瑞(匾额)薛宝钗

芳园筑向帝城西，华日祥云笼罩奇。高柳喜迁莺出谷，修篁时待凤来
仪。文风已著宸游夕，孝化应隆归省时。睿藻仙才瞻仰处，自惭何敢再为
辞？

世外仙源(匾额)林黛玉

宸游增悦豫，仙境别红尘。借得山川秀，添来气象新。香融金谷酒，
花媚玉堂人。何幸邀恩宠，宫车过往频。

元妃看毕，称赏一番，又笑道：“终是薛林二妹之作与众不同，非愚姊妹所及。”原
来林黛玉安心今夜大展奇才，将众人压倒，不想贾妃只命一匾一咏，倒不好违谕
多做，只胡乱做一首五言律应命罢了。

彼时宝玉尚未做完，才做了“潇湘馆”与“蘅芜苑”两首，正做“怡红院”一
首，起稿内有“绿玉春犹卷”一句。宝钗转眼瞥见，便趁众人不理论，推他道：
“贵人因不喜‘红香绿玉’四字，才改了‘怡红快绿’；你这会子偏又用‘绿玉’二
字，岂不是有意和他分驰了？况且蕉叶之典故颇多，再想一个改了罢。”宝玉见
宝钗如此说，便拭汗说道：“我这会子总想不起什么典故出处来。”宝钗笑道：
“你只把‘绿玉’的‘玉’字改作‘蜡’字就是了。”宝玉道：“‘绿蜡’可有出处？”

Glory and auspiciousness are all gathered here (the title of the poem), written by Xue Baochai

         The beautiful grand view garden is built in the west of the capital. The bright sunshine and colorful clouds cover the treasures in the garden.

The towering willows happily welcome the yellow warbler from the valley, and the high bamboo bushes are waiting for the Phoenix to come here.

The imperial court's enlightenment is more obvious on the night when the imperial concubine travels, and the emperor's filial piety is more prosperous when the imperial concubine goes home to visit relatives.

Looking up to the poems of the virtuous imperial concubine's genius, how could those learned Taifu dare to write again?

                 Fairyland outside the world (the title of the poem), written by Lin Daiyu

         Where is this famous Grand View Garden built? It's like a fairyland in the sky, not in the world. Skillfully with the help of the original beauty of the landscape, but also ingenuity to add a new Dou Qiao scenery. Tonight, the empress of Yuanfei went home to visit her relatives. She drank wine and wrote poems in the garden. The strong fragrance of flowers blended into the wine helped her to be more elegant, and the flowers opened more charming to her. So lucky to get the favor of the emperor, now as a lady, every trip has a palace carriage guard of honor. It's really beautiful and remarkable.

After reading their poems, Yuan Fei praised them and said with a smile, "in the end, Xue Baochai and Lin Daiyu's poems are different. The other sisters are far inferior to them."

Originally, Lin Daiyu was ready to show her skills and concentrate on overwhelming everyone tonight, but she didn't expect that Princess Jia would only write a plaque and chant. She was also embarrassed to disobey orders and create more poems, so she could only write a five character metrical poem.

     At this time, Jia Baoyu had not finished his poem, so he wrote two poems: "Xiaoxiangguan" and "juanwuyuan". He was writing the poem "yihongyuan". In the first draft, there was a sentence "lvyuchunyoujuan". When Xue Baochai caught a glimpse of it, she pushed Jia Baoyu and said, "because you don't like the word" red fragrant green jade ", you changed the word" happy red and green "; Now you use the word "green jade" again. Didn't you mean to fight against her? What's more, there are so many allusions about banana leaves that you just want to change them. " Seeing that Xue Baochai said so, Jia Baoyu wiped away her sweat and said, "I can't think of any allusions at this time." Xue Baochai said with a smile, "you can only change the word" jade "from" green jade "to" wax. " Jia Baoyu said: "does green wax have a source?"

=Guō Yàbō 郭亚波=
宝
钗悄悄的咂嘴点头笑道：“亏你今夜不过如此，将来金殿对策，你大约连‘赵钱
孙李’都忘了呢！唐朝韩翊咏芭蕉诗头一句：‘跨烛无烟绿蜡干’，都忘了么？”
宝玉听了，不觉洞开心意，笑道：“该死！眼前现成之句一时竟想不到。姐姐真
可谓‘一字师’了。从此只叫你师傅，再不叫姐姐了。”宝钗亦悄悄的笑道：“还
不快做上去，只姐姐妹妹的。谁是你姐姐？那上头穿黄袍的才是你姐姐呢。”
一面说笑，因怕他耽延工夫，遂抽身走开了。

宝玉续成了此首，共三首。此时黛玉未得展才，心上不快。因见宝玉构思
太苦，走至案旁，知宝玉只少“杏帘在望”一首，因叫他抄录前三首，却自己吟成
一律，写在纸条上，搓成个团子，掷向宝玉跟前。宝玉打开一看，觉比自己做的
三首高得十倍，遂忙恭楷誊完呈上。贾妃看是：

有凤来仪，宝玉秀玉初成实，堪宜待凤凰。竿竿青欲滴，个个绿生凉。迸砌防阶水，穿帘碍鼎香。莫摇分碎影，好梦正初长。

蘅芷清芬
蘅芜满静苑，萝薛助芬芳。软衬三春草，柔拖一缕香。轻烟迷曲径，
冷翠湿衣裳。谁谓“池塘”曲，谢家幽梦长。

怡红快绿
深庭长日静，两两出婵娟。绿蜡春犹卷，红妆夜未眠。凭栏垂绎袖，
倚石护清烟。对立东风里，主人应解怜。

杏帘在望
杏帘招客饮，在望有山庄。菱荇鹅儿水，桑榆燕子梁。一畦春韭绿，
十里稻花香。盛世无饥馁，何须耕织忙。

With a mocking smile and a smack of the lips she nodded. “If you’re in such a state tonight, by the time you sit for the Palace Examination I dare say you’ll even forget the first primer you ever read. Have you forgotten the opening line of that poem on the plantain by the Tang poet Qian Xu, ‘Smokeless the cold candles, the green wax is dry’?” Precious Jade Merchant felt as if a veil had been lifted from his eyes. “How stupid of me!” he chuckled. “Fancy forgetting a ready-made phrase like that. You’re really my ‘one-word-teacher.’ From now on I shall have to address you as ‘master’, not as ‘sister’ any more.” Suppressing a smile Precious Hairpin Marshgrass replied, “Hurry up and finish instead of talking such nonsense. Who are you calling ‘sister’? That’s your sister sitting up there in the golden robes. Why call me your sister?” Afraid to delay him by chatting, she slipped away. Precious Jade Merchant persevered until three poems were done and Marscara Jade Forest, depressed at having no chance to shine, came up to his desk where he was struggling alone, meaning to help him out by writing a couple of poems for him. Asked if he had finished, Precious Jade Merchant said, “I’ve only done three. All left now is Approach to Apricot Tavern.” “Well then, let me do that for you, while you copy out the other three.” After thinking for a moment with lowered head, she scribbled the poem out on a slip of paper, screwed it into a ball and tossed it to Precious Jade Merchant. When he smoothed it out he found it ten times better than his own attempts. He was overjoyed. Having hurriedly copied it out with care he presented all four poems to First Spring Merchant.
This is what she read:

WHERE THE PHOENIX ALIGHTS
The fruit fresh formed on jade stalks rare, Makes for the phoenix fitting fare;
So green each stem they seem to drip, With coolness seeping from each verdant tip.
Bursting through stones, they change the water’s track, Piercing through screens, hold tripod’s incense back;
Let none disturb these chequered shades, That sweetly she may dream till daylight fades.

PURE SCENT OF ALPINIA AND IRIS
Alpinia fills the courtyard free from dust, By climbing fig its fragrance reinforced;
Softly they heighten the fresh green of spring, Gently they trail their perfume, ring on ring.
A light mist hides the winding path from view, From covered walks drips chill and verdant dew.
But who will celebrate the pool in song? Lost in a dream, at peace, the poet sleeps long.

HAPPY RED AND DELIGHTFUL GREEN
In quiet court long days pass tranquilly, A charming match, plantain and apple-tree;
The green wax leaves in spring are yet furled tight, The blossom decked in red keeps watch at night;
With crimson sleeves one sweeps the balustrade, One, misty green, is by the rocks arrayed.
Facing each other in the soft east wind, They surely bring their mistress peace of mind!

APPROACH TO APRICOT TAVERN
A grove of apricots, a tavern-sign, And a hillside hamlet beyond;
Elms, mulberries, swallows on rafters, And geese on the caltrop pond.
In the fields spring leeks are green, All round, the paddy flowers scent the breeze;
None goes hungry in these good times, Ploughman and weaver alike can take their ease.

--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 05:27, 9 June 2021 (UTC)
the Tang poet Qian Xu→the Tang poet Korea Assistance

“How stupid of me!”→“How stupid I am!”

From now on I shall have to address you as ‘master’, not as ‘sister’ any more.”→From now on I shall have to address you as my ‘master’, not as my ‘sister’ any more.”

Asked if he had finished→Asking if he had finished

After thinking for a moment with lowered head→After thinking for a moment with her lowered head

=Huáng Fāngfāng 黄芳芳=
贾妃看毕，喜之不尽，说：“果然进益了！”又指“杏帘”一首为四首之冠，遂将“浣
葛山庄”改为“稻香村”。又命探春将方才十数首诗，另以锦笺誊出，令太监传
与外厢。贾政等看了，都称颂不已。贾政又进《归省颂》。元春又命以琼酪金
脍等物，赐与宝玉并贾兰。此时贾兰尚幼，未谙诸事，只不过随母依叔行礼而
已。

那时贾蔷带领一班女戏子在楼下，正等得不耐烦，只见个太监飞跑下
来，说：“做完了诗了，快拿戏目来！”贾蔷忙将戏目呈上，并十二个人的花名册
子。少时，点了四出戏：第一出，《豪宴》；第二出，《乞巧》；第三出，《仙缘》；第四
出，《离魂》。贾蔷忙张罗扮演起来，一个个歌有裂石之音，舞有天魔之态，虽是
妆演的形容，却做尽悲欢情状。

刚演完了，一个太监执一金盘糕点之属进来，问：“谁是龄官？”贾蔷便知是
赐龄官之物，连忙接了，命龄官叩头。太监又道：“贵妃有谕，说：‘龄官极好，再
做两出戏，不拘那两出就是了。’”贾蔷忙答应了，因命龄官做《游园》《惊梦》二
出。龄官自为此二出原非本角之戏，执意不从，定要做《相约》《相骂》二出。贾
蔷扭他不过，只得依他做了。贾妃甚喜，命：“莫难为了这女孩子，好生教习。”额
外赏了两匹宫绸，两个荷包，并金银锞子食物之类。

After seeing these, Princess Merchant was overjoyed and said, "Surely, you have made a progress!" Then, she appointed the "Apricot Curtain" as the crown of four poems, and transferred "Hemp- Washing Cottage" to "Rice Fragrance Village". In addition, she ordered Seeking-Spring to copy the poems out with delicate and ornate letter paper, and sent an eunuch to bring these to the outside. Master Merchant and others all praised them a lot. Master Merchant wrote the "Praises for Returning Home" as well. First Spring also was ordered to give wine, sugar, gold and other items to Precious Jade and Cymbidium Merchant. At that time, Cymbidium Merchant was still young and did not know anything. She just followed his mother and uncle to give a salute.

Rose Merchant, followed by a group of female actors, was waiting impatiently downstairs. At that moment, a eunuch flew down the stairs and said: "The project of making poems has finished. Quickly please give me the contents of plays!" Rose Merchant hurried up passing on the contents, together with the roster of twelve people. After a while, four plays were ordered: the first, the "A Grand Banquet", the second, "Qi Qiao", the third, "Fairy", the fourth, "Missing Souls". Rose Merchant hastily prepared people to play up. They all could sing with the sound of cracked stone, and dance with the state of the devil. Although they made up well, they presented sadness happiness extremely.

As soon as the performance was over, an eunuch came in with a golden plate with cakes and asked, "Who is the 龄官official?" Rose Merchant knew it was
to be given to Charmante. She quickly received it and ordered Charmante to kowtow.The eunuch said, "Your concubine has an order, saying, 'Charmante performed very well. Make another two plays. You are not limited to make those very two.'" Rose Merchant agreed quickly, ordering the Charmante to make "Garden Travel" and "Surprising Dreams" two plays. Charmante thought that those two had not been her own plays where she played the leading role. So she insisted on rejecting to perform, and persisted to perform "Meeting" and "Scolding". Rose Merchant failed to persuade her but to allow her do what she wanted to do. Princess Merchant was very happy, ordering: "Don't let this girl feel awkward. Teach her attentively." There were additional rewards: two palace silk, two bags, some small pieces of gold and silver, some food and so on.

=Huáng Lìpèi 黄沥霈=
然后撤筵，将未到之处，复
又游玩。忽见山环佛寺，忙盥手进去焚香拜佛，又题一匾云：“苦海慈航”；又额
外加恩与一班幽尼女道。

少时，太监跪启：“赐物俱齐，请验按例行赏。”乃呈上略节。贾妃从头看了
无话，即命照此而行。太监下来，一一发放。原来贾母的是金玉如意各一柄，沉
香拐杖一根，伽楠念珠一串，“富贵长春”宫缎四匹，“福寿绵长”宫绸四匹，紫金
“笔锭如意”锞十锭，“吉庆有余”银锞十锭。邢夫人等二分，只减了如意、拐、珠
四样。贾敬、贾赦、贾政等每分御制新书二部，宝墨二匣，金银盏各二只，表礼按
前。宝钗黛玉诸姊妹等，每人新书一部，宝砚一方，新样格式金银锞二对。宝玉
亦同。贾兰是金银项圈二个，金银锞二对。尤氏、李纨、凤姐等皆金银锞四锭，
表礼四端。另有表礼二十四端，清钱一千串，是赏与贾母王夫人及各姊妹房中
奶娘众丫鬟的。贾珍、贾琏、贾环、贾蓉等皆是表礼一端，金银锞一对。其余彩
缎百匹，白银千两，御酒数瓶，是赐东西两府及园中管理工程、陈设、答应及司
戏、掌灯诸人的。外又有清钱五百串，是赐厨役、优伶、百戏、杂行人等的。

众人谢恩已毕，执事太监启道：“时已丑正三刻，请驾回銮。”贾妃不由的满
眼又滚下泪来，却又勉强笑着，拉了贾母王夫人的手不忍放，再四叮咛：“不须记
挂，好生保养。

When the banquet had been cleared, and Charmante once more continued her visit through those places to which she had not been. She quite caught sight of the Buddhist Temple encircled the hills and promptly rinsing her hands, she walked in and burnt incense and worshipped Buddha. She also composed an idea for a tablet, "a humane boat on the world's bitter sea", and went once again so far as to show additional grace to a company of ascetic nuns and Taoist priestesses.

A eunuch came in a short while and reverently fell on his knees. "The presents are all in readiness," he reported, " and may please you to check them and to distribute them, in compliance with custom," and he presented her a list which the Merchant consort skimmed from the very top and without raising any objection, and readily commanding that action could be taken according to the list. A eunuch descended and issued the gifts one after another. The presents for Grandma Merchant consisted, of two scepters, one of gold, the other of jade with " may your wishes be fulfilled" inscribed on them; a staff made of lign-aloes; a string of chaplet beads of Jia-nan fragrant wood; four rolls of imperial satin with words "Affluence and honors and Perennial Spring"; four rolls of imperial silk with the words "Perennial Happiness and Longevity"; ten purple gold ingots, representing "a pen as you like", and ten silver ingots with the device "Felicitous Blessings." While the two shares of Madam City →Lady City--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:24, 25 May 2021 (UTC) and Madam King →Lady King--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:24, 25 May 2021 (UTC) were received four things in all, only shorts of Grandma Merchant by the scepters and staffs. Master Merchant, Pardon Merchant, Honor Merchant and the others had been each distributed a work newly written by the Emperor, two boxes of superior ink, and gold and silver cups, two pairs of each; their other gifts being identical with those above. Jeweled Hairpin, Mascara Jade Forest, all the sisters and the rest were assigned each a copy of a new book, a fine slab, and two pair of gold and silver ornaments of new kind and original in shape; Precious Jade Merchant likewise receiving the same presents. Cymbidium Merchant's gifts consisted of two necklets, one of gold, the other of silver, and two pairs of gold ingots. Mrs. You, the widow Silk Plum, Lady Phoenix and the others had, each of them, four ingots of gold and silver; and four pieces of silk. In addition, there were presents consist of twenty-four pieces of silk and a thousand strings of good cash to be allotted to the nurses and waiting maids in the apartments of Grandma Merchant, Madam King →Lady King--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:24, 25 May 2021 (UTC) and the respective sisters; while Treasure Merchant, Romance Merchant, Ring Merchant, Prosperity Merchant and the rest had, everyone, a piece of silk, and a pair of gold and silver ingots for presents. As regards the other gifts, there were a hundred rolls of various colored silks, a thousand ounces of pure silver, and several bottles of imperial wine intended to be allotted upon all the men-servants of the mansions, on the East and the West, as well as upon those who had been in the garden overseeing works, arranging the decorations and in waiting to answer calls and who looked after the theatres and managed the lanterns. Besides, there being five hundred strings of pure cash for the cooks, waiters, jugglers and hundred of actors and every kind of domestics.

The whole party had finished by giving expression to their thanks for her bounty, when the managers and eunuchs respectfully announced: " It is already a quarter to three, and may please your Majesty to turn back to your chariot." The Merchant consort's eyes brimmed over, much against she will, and she once more gave vent to tears. However, forcing herself to put on a smile again, she clasped Grandma Merchant's and Madam King's →Lady King--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:24, 25 May 2021 (UTC) hands and could not bring herself to let them go' and she repeatedly impressed their minds that there was no need to give away any concern and that they should take good care of their health.

=Huáng Xiàolán 黄笑兰=
如今天恩浩荡，一月许进内省视一次，见面尽容易的，何必过悲。倘明岁天恩仍许归省，不可如此奢华糜费了。”贾母等已哭的哽噎难言了。贾妃虽不忍别，奈皇家规矩，违错不得的，只得忍心上舆去了。这里诸人好容易将贾母劝住，及王夫人搀扶出园去了。未知如何，下回分解。

◎第十九回情切切良宵花解语意绵绵静日玉生香

话说贾妃回宫，次日见驾谢恩，并回妻归省之事，龙颜甚悦，又发内帑彩缎金银等物，以赐贾政及各椒房等员，不必细说。

且说荣宁二府中连日用尽心力，真是人人力倦，各各神疲，又将园中一应陈设动用之物收拾了两三天方完。第一个凤姐事多任重，别人或可偷闲躲静，独他是不能脱得；二则本性要强，不肯落人褒贬，只扎挣着与无事的人一样。第一个宝玉是极无事最闲暇的。偏这一早，袭人的母亲又亲来回过贾母，接袭人家去吃年茶，晚间才得回来。因此，宝玉只和众丫头们掷骰子赶围棋作戏。正在房内玩得没兴头，忽见丫头们来回说：“东府里珍大爷来请过去看戏，放花灯。”宝玉听了，便命换衣裳。才要去时，忽又有贾妃赐出糖蒸酥酪来；宝玉想上次袭人喜吃此物，便命留与袭人了，自己回过贾母，过去看戏。

谁想贾珍这边唱的是《丁郎认父》、《黄伯央大摆阴魂阵》，更有《孙行者大闹天宫》、《姜太公斩将封神》等类的戏文。倏尔神鬼乱出，忽又妖魔毕露。

Thanks to the Emperor’s kindness you can now come to the Palace once a month to see me, so we shall have many chances to meet again. There is no need to be upset. If next year by Imperial grace, I’m allowed another visit home, you must promise not to be so extravagant. Grandma Merchant and other women were sobbing too bitterly to make any reply. But although First Spring could hardly bear to leave, she could not disobey the Imperial regulations and had no alternative but to re-enter her palanquin which carried her away. The whole household did their best to console the Grandma Merchant and Lady King as they helped them out of the Garden. But more of this in the next chapter.

Chapter 19
An Eloquent Maid Offers Earnest Advice One Fine Night
A Sweet Girl Shows Deep Feeling One Quiet Day

The day after her return to the Palace the Imperial Consort appeared before the Emperor to thank him for his kindness, and so pleased him with an account of her visit home that he sent rich gifts of satin, gold and silver from his privy store to Master Merchant and other fathers of visiting ladies. But no more of this.

The inmates of the Rong and Ning Mansions were completely worn out after their recent exertions, and it took several days to remove and store away all the decoration and other movables from the Garden. The heaviest responsibility devolved upon Splendid Phoenix, who, unlike the others, had not a moment's respite; but she was always so eager to shine, so anxious to give no one a handle against her, that she strove to carry out her many tasks as if they were nothing. Precious Jade, on the other hand, was the one with the least to do and the most leisure. One morning Aroma’s mother came and asked the Grandma Merchant permission to take her daughter home to tea and keep her until the evening. So Precious Jade was left to amuse himself with the other maids at dice or draughts. He was feeling rather bored when a girl announced that a message had come from Treasure Merchant inviting him over to the Ning Mansion to watch some operas and see their New Year lanterns. While Precious Jade was changing his clothes before setting out, a gift of sweetened junket arrived from the Imperial Consort. Remembering how Aroma had enjoyed this delicacy the last time they had some, he asked them to keep it for her. Then, having taken his leave of the Grandma Merchant, he went over to the other mansion.

He was rather taken aback to find them performing operas like ''Master Ding Finds His Father'', ''Huang Boyang Deploys Chosts in a Battle'', ''Monkey Plays Havoc in Heaven'' and ''The Patriarch Jiang Kills Generals and Deifies Them''. In all these, especially the two last, gods, ghosts monsters

=Huáng Zǐlóng 黄梓龙 Mr.=
内
中扬幡过会，号佛行香，锣鼓喊叫之声，远闻巷外。满街上个个都赞：“好热闹
戏，别人家断不能有的。”宝玉见繁华热闹到如此不堪的田地，只略坐了坐，便
走往各处闲耍。先是进内去和尤氏并丫头姬妾说笑了一回，便出二门来。尤氏
等仍料他出来看戏，遂也不曾照管。贾珍、贾琏、薛蟠等只顾猜谜行令，百般作
乐，纵时不见他在座，只道在里边去了，也不理论。至于跟宝玉的小厮们，那
年纪大些的，知宝玉这一来了必是晚间才散，因此偷空也有会赌钱的，也有往亲
友家去吃年茶的，或赌或饮，都私自散了，待晚间再来；那些小些的，都钻进戏房
里瞧热闹去了。

宝玉见一个人没有，因想：“素日这里有个小书房内曾挂着一轴美人，极画
的得神。今日这般热闹，想那里自然无人，那美人也自然是寂寞的，须得我去望
慰他一回。”想着，便往那厢来。刚到窗前，闻得房内呻吟之声。宝玉倒唬了一
跳：“敢是美人活了不成?”乃大着胆子，舐破窗纸，向内一看，那轴美人却不曾
活，却是茗烟按着一个女孩子，也干那警幻所训之事。宝玉禁不住大叫：“了不
得！”一脚踹进门去，将那两个唬开了，抖衣而颤。

茗烟见是宝玉，忙跪下哀求。宝玉道：“青天白日，这是怎么说！珍大爷知
道，你是死是活？”一面看那丫头，虽不标致倒白净，些微亦有动人心处，羞的脸
红耳赤，低首无言。

and ogres took the stage among waving pennants, temple processions, invocations to Buddha and offerings of incense, while the din of gonging, drumming and shouting carried to the street outside. The passersby commented appreciatively that no other family but the Jias could afford to put on such a lively entertainment. Only Baoyu, disgusted by suchrowdy, showy proceedings, soon slipped away to amuse himself elsewhere. First he went to the inner rooms to chat with Madam You and tease the maids and concubines there. And when he strolled out of the inner gate they did not see him off, assuming that he was going back to watch the performance. The menfolk - Jia Zhen, Jia Lian,Xue Pan and the restwere having such а good time gaming and drinking that they did not worry about his ;absence either, taking it for granted that he hagone inside. As for the servants who had come with him, the older ones, not expecting him to leave before dusk, sneaked off to gamble, drink New Year tea with relatives and friends or visit some brothel or tavern, intending to be back bydark. The younger ones, for their part, squeezed into the theatre to watch the fun.

When Baoyu found himself alone he thought, "There"s а marvellously lifelike painting of а beauty in the small study here. In all this excitement today she must be lonely. l"d better go and cheer her up." He made his way towards the study.As he neared the window he heard a moaning inside which pulled him up with a start.Could the beauty in the picture have come to life? Screwing up his courage, he made a hole inthe window-paper with his tongue and peepedthrough. No, the painted beauty had not come Tlife, but his page Mingyan was holding down аgirl and indulging in the game taught Baoyu by the Goddess of Disenchantment.Heavens above!"As Baoyu charged into the room, the trembling lovers quickly broke apart. And whenMingyan saw who it was, he fell on his knees tobeg for mercy. "A fine way to carry on in broad daylight!"cried Baoyu. Do you want Lord Jia Zhen to killyou?" Meanwhile he was sizing up the maid, nobeauty but а girl with а fair complexion and a certain charm. Red to the ears with shame,she hung her head in silence.

and ogres took the stage among waving pennants, temple processions, invocations to Buddha and offerings of incense, while the din of gonging, drumming and shouting carried to the street outside. The passersby commented appreciatively that no other family but the Jias could afford to put on such a lively entertainment. Only Precious Jade Merchant, disgusted by such rowdy, showy proceedings, soon slipped away to amuse himself elsewhere. First he went to the inner rooms to chat with Madam You and tease the maids and concubines there. And when he strolled out of the inner gate they did not see him off, assuming that he was going back to watch the performance. The menfolk - Treasure Merchant, Romance Merchant,Dragon Marshgrass and the rest were having such а good time gaming and drinking that they did not worry about his ;absence either, taking it for granted that he had gone inside. As for the servants who had come with him, the older ones, not expecting him to leave before dusk, sneaked off to gamble, drink New Year tea with relatives and friends or visit some brothel or tavern, intending to be back by dark. The younger ones, for their part, squeezed into the theater to watch the fun.
When Precious Jade Merchant found himself alone he thought, "There"s a lifelike painting of а beauty in the small study here. In all this excitement today she must be lonely. l"d better go and cheer her up." He made his way towards the study.As he neared the window he heard a moaning inside which pulled him up with a start.Could the beauty in the picture have come to life? Screwing up his courage, he made a hole in the window-paper with his tongue and peeped through. No, the painted beauty had not come to life, but his page Tealeaf was holding down аgirl and indulging in the game taught Precious Jade Merchant by the Goddess of Disenchantment.Heavens above!"As Precious Jade Merchant charged into the room, the trembling lovers quickly broke apart. And when Tealeaf saw who it was, he fell on his knees to beg for mercy. "A fine way to carry on in broad daylight!"cried Precious Jade Merchant. Do you want Lord Treasure Merchant to kill you?" Meanwhile he was sizing up the maid, no beauty but а girl with а fair complexion and a certain charm. Red to the ears with shame,she hung her head in silence. ——Li Yihao

=Lǐ Yìhào 李艺浩=
宝玉跺脚道：“还不快跑？”一语提醒了那丫头，飞也似的去
了。宝玉又赶出去叫道：“你别怕，我是不告诉人的。”急得茗烟在后叫：“祖宗，
这是分明告诉人了！”宝玉因问：“那丫头十几岁了？”茗烟道：“不过十六七岁
了。”宝玉道：“连他的岁数也不问问，别的自然越发不知了，可见他白认得你了。
可怜，可怜！”又问：“名字叫什么？“茗烟笑道：“若说出名字来话长，真正新鲜奇
文。他说他母亲养他的时节，做了一个梦，梦得了一匹锦，上面是五色富贵不断
头的‘卍’字花样，所以他的名字就叫作万儿。”宝玉听了笑道：“真也新奇，想必
他将来有些造化。”说着，沉思一会。

茗烟因问：“二爷为何不看这样的好戏？”宝玉道：“看了半日，怪烦的，出来
逛逛，就遇见你们了。这会子作什么呢？”茗烟微微笑道：“这会子没人知道，我
悄悄的引二爷往城外逛去，一会儿再往这里来，他们就不知道了。”宝玉道：“不
好，仔细花子拐了去。且是他们知道了，又闹大了。不如往近些的地方去，还可
就来。”茗烟道：“就近地方谁家可去？这却难了。”宝玉笑道：“依我的主意，咱
们竟找花大姐姐去，瞧他在家作什么呢。”茗烟笑道：“好，好！倒忘了他家。”又
道：“他们知道了，说我引着二爷胡走，要打我呢？”宝玉道：“有我呢。”茗烟听
说，拉了马，二人从后门就走了。幸而袭人家不远，不过一半里路程，转眼已到
门前。
Precious Jade Merchant stamped foot and said: "still not fast run?" This word reminded that girl, so she run away quickly.
"Don't be afraid. I don't tell anyone." Tealeaf was so anxious that she cried: "This is clearly to tell others!" "Is that girl in her teens?", asked by Precious Jade Merchant. Tealeaf said: "Sixteen or seventeen years old." "She did not even asked how old he is," said Precious Jade Merchant, "and of course she didn't know anything else. What a poor girl!" "What was his name?" he continued to ask. Tealeaf said with a smile:"It is a long story behind his name, and his name was really a fresh and strange. He said that her mother had a dream about getting a brocade with five colors with .. in it when she raised him, so
his name is called Wan er." Precious Jade laughed and said, "That is a novelty. There may be have luck for him". After this words, he kept thinking for a while.

As a result, Tealeaf asked: "Why not see such good play?" "I've been watching it for half a day, and it makes me really annoying. So hang out and meet you. What are we going to do?"" said Precious Jade Merchant. Tealeaf slightly smiled: "No one notice us, I quietly lead you to go out towards the city, and then come back, so they do not know this trip." Precious Jade Merchant said, "That is not a good idea. Be careful with human traders. And if they know, it will make a big fuss. So be better to some close place." Tealeaf relied, "Whose house can we go? It's hard." Precious Jade Merchant said with a smile, "According to my idea, let's go to Sister Hua's and to see what her family are doing." Tealeaf said with a smile again: "Good, good! I forgot her family. If they know it is I that incite you, other people want to beat me?" "I am with you," said Precious Jade Merchant.After hearing this promise, she pulled up their horses and left from the back door." Fortunately, it was not far from the Aroma's house, half a mile away. They arrived in the blink of an eye. ——Li Yihao

=Liú Tíngyáng 刘廷阳=
茗烟先进去叫袭人之兄花自芳。此时袭人之母接了袭人与几个外甥女儿
几个侄女儿来家，正吃果茶，听见外面有人叫“花大哥”，花自芳忙出去看时，见
是他主仆两个，唬的惊疑不定，连忙抱下宝玉来，至院内嚷道：“宝二爷来了！”别
人听见还可，袭人听了，也不知为何，忙跑出来迎着宝玉，一把拉着问：“你怎么
来了？”宝玉笑道：“我怪闷的，来瞧瞧你作什么呢。”袭人听了，才把心放下来，
说道：“你也胡闹了，可作什么来呢？”一面又问茗烟：“还有谁跟来？”茗烟笑道：
“别人都不知，就只我们两个。”袭人听了，复又惊慌说道：“这还了得！倘或撞
见了人，或是遇见了老爷，街上人挤马碰，有个闪失，也是玩得的？你们的胆子
比斗还大。都是茗烟调唆的，回去我定告诉嬷嬷们打你。”茗烟撅了嘴道：“二
爷骂着打着叫我引了来的，这会子推到我身上。我说别要来罢！不然，我们还
去罢。”花自芳忙劝道：“罢了，已是来了，也不用多说了。只是茅檐草舍，又窄又
不干净，爷怎么坐呢？”

袭人之母也早迎了出来。袭人拉了宝玉进去。宝玉见房中三五个女孩
儿，见他进来，都低了头，羞脸通红。花自芳母子两个恐怕宝玉冷，又让他上炕，
又忙另摆果桌，又忙倒好茶。袭人笑道：“你们不用白忙，我自然知道，果子也不
用摆了，不敢乱给东西吃。”

Tealeaf went first to call for Aroma"s brother The Fragrant Flower. Aroma"s mother was had just fetched several nephews to their home, and as the family just settled down to their tea when they heard this voice outside calling for The Fragrant Flower. The Fragrant Flower surprised and went out, only to find that his sister"s young master waiting at the gate with a servant. He went back to the courtyard and yelled: "It"s Precious Jade!" Aroma came running out to discover the cause of this unaccountable visit. As soon as she saw him she clung to him anxiously: "What"s wrong with you?” Precious Jade laughed and said: “I was just feeling bored, so I came over to see what did you do.” "That doesn’t make sense." said Aroma, relieved to find that nothing was amiss. "What did you think I would do?" She turned to Tealeaf and asked: "Who else is with you?" "Nobody," said Tealeaf , smilely. "Nobody knows we’re here." This time Aroma freaked out again. "That"s terrible! Suppose you will meet someone? Suppose you were to meet the Master?" She glanced at Precious Jade. "In any case, the streets are so crowded now, you could easily get ridden down or something. It would be no joke if you were to have an accident. You two are totally crazy." She turned to Tealeaf again. "You put him up to here? Wait till I get back, I’ll tell his nannies about you. And they’ll have you flogged like a felon!" Tealeaf pulled a puppy dog face. "Don’t blame on me! Precious Jade was cursing at me to make me go with him. I kept telling him not to come. But we’d better be going back now." "You might as well stay, now you’re here," said The Fragrant Flower. "There"s no point to quarrel about it. But our place is poor and cramped and not so clean. Maybe hardly a fit place for Precious Jade."

Now Aroma’s mother came to welcome them. Aroma took Precious Jade by the hand and led him in. He saw four or five girls sitting down inside who hung their heads and blushed when he entered. Despite their blushes, The Fragrant Flower and his mother insisted that Precious Jade should get up on the kang with them, as they were afraid that he would find their house cold. Having installed him on the kang, they bustled to and fro fetching things to eat and pouring tea. "It’s no use to prepare for him, mom," said Aroma. “I know how to take care of him. There’s no point in your giving him a lot of things he won’t be able to eat."--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 09:34, 13 June 2021 (UTC)

=Liú Zhuōfán 刘卓凡 Mr.=
一面说，一面将自己的坐褥拿了，铺在一个杌子上，
宝玉坐了；用自己的脚炉垫了脚，向荷包内取出两个梅花香饼儿来，又将自己的
手炉掀开焚上，仍盖好，放与宝玉怀内；然后将自己的茶杯斟了茶，送与宝玉。
彼时他母兄已是忙着齐齐整整的摆上一桌子果品来，袭人见总无可吃之物，因
笑道：“既来了，没有空去的理，好歹尝一点儿，也是来我家一趟。”说着，便拈了
几个松子瓤，吹去细皮，用手帕托着送与宝玉。

宝玉看见袭人两眼微红，粉光融滑，因悄问袭人道：“好好的哭什么？”袭人
笑道：“何尝哭！才迷了眼揉的。”因此便遮掩过了。因见宝玉穿着大红金蟒孤
腋箭袖，外罩石青貂裘排穗褂，说道：“你特为往这里来，又换新衣服，他们就不
问你往那里去的？”宝玉笑道：“原是珍大爷请过去看戏换的。”袭人点头，又道：
“坐一坐就回去罢，这个地方不是你来的。”宝玉笑道：“你就家去才好呢，我还
替你留着好东西呢。”袭人笑道：“悄悄的，叫他们听着什么意思。”一面又伸手
从宝玉项上将“通灵玉”摘下来，向他姊妹们笑道：“你们见识见识。时常说起
来都当稀罕，恨不能一见，今儿可尽力瞧了。再瞧什么稀罕物儿，也不过是这么
个东西。”说毕，递与他们传看了一遍，仍与宝玉挂好，

Aroma took her seat pad and stretched it on a foot-stool; then, Precious Jade sit down. She put her foot stove under her foot and took out two plum flower sweet cakes from her pouch. After that, she burned her hand stove and put it in Precious Jade’s arms. Then, she made one cup of tea for Precious Jade. By that time, her brother had been busy on laying out a lot of nuts on the table neatly. Aroma still thought that nothing is suitable for Precious Jade’s taste and said: “You have come to our home, so there is no reason for you to leave with hunger. Please have some food which at least proves that you have come to our home.” She picked up several pinenut kernels and blew away the thin pericarp. Then, she put them on a napkin and she gave them to Precious Jade.
He saw that her eyes were slight red, so he asked secretly why she was crying. Aroma smiled and said: “I am not crying! I rubbed my eyes just now because of the dust.” The lie convinced Precious Jade. Seeing Precious Jade wore a large red gold python with armpit sleeves and a stone blue sable coat, she asked: “You put on your new clothes and head for here intentionally. No one have asked about your destination?” He laughed and said: “The clothes were changed when Treasure Merchant invited me to watch a play.” Aroma nodded and said: “You go back quickly. This place is not suitable for you to come.” “It is good for you to come back with me. I still keep some good things for you,” he said. Aroma said: “Quiet. It not good for other people to hear it.” Then, she stretched out her hands and took down the precious jade from his neck. She talked to her sisters: “See. When talking about it, you regard it as a rare treasure and wish to see it. Today, you should stare at it carefully. There is nothing rarer than this one.” she gave the jade to them and let them see it one by one. After that, she hung it back around his neck.

=Péng Jiāyù 彭佳钰=
又命他哥哥去雇一乘小
轿，或雇一辆小车，送宝玉回去。花自芳道：“有我送去，骑马也不妨了。”袭人
道：“不为不妨，为的是碰见人。”

花自芳忙去雇了一顶小轿来，众人也不好相留，只得送宝玉出去。袭人又
抓些果子与茗烟，又把些钱与他买花炮放，教他：“不可告诉人，连你也有不是。”
一面说着，一直送宝玉至门前，看着上轿，放下轿帘。茗烟二人牵马跟随。来至
宁府街，茗烟命住轿，向花自芳道：“须得我同二爷还到东府里混一混，才过去
的，不然人家就疑惑了。”花自芳听说有理，忙将宝玉抱出轿来，送上马去。宝玉
笑道：“倒难为你了。”于是仍进了后门来，俱不在话下。

却说宝玉自出了门，他房中这些丫鬟们都越性恣意的玩笑，也有赶围棋
的，也有掷骰抹牌的，磕了一地的瓜子皮。偏奶母李嬷嬷拄拐进来请安，瞧瞧宝
玉，见宝玉不在家，丫鬟们只顾玩闹，十分看不过，因叹道：“只从我出去了不大
进来，你们越发没了样儿了，别的嬷嬷越不敢说你们了。那宝玉是个‘丈八的
灯台——照见人家，照不见自己’的，只知嫌人家腌臜，这是他的屋子，由着你
们遭塌，越不成体统了。”

Then she asked her brother to hire a sedan-chair or a small carriage and escort Precious Jade home. “I can see him back quite safely on horseback,” said Zifang. “That’s not the point. I’m afraid of his meeting someone.”

Then Zifang hurried out to hire a sedan-chair, and not daring to detain Precious Jade. They saw him out. Aroma gave Tealeaf some sweetmeats and money to buy firecrackers, warning him that he must keep this visit secret if he wanted to steer clear of trouble. She saw Precious Jade out of the gate, watched him get into the chair and lowered its curtains. Her brother and Tealeaf followed behind with the horse. When they reached the street where the Ning Mansion stood, Tealeaf ordered the chair to stop and told Zifang, “We must look in here for a while before going home, if we don’t want people to suspect anything.” Since this made good sense, Zifang handed Precious Jade out and helped him to mount his horse, while the boy apologized for troubling him. Then they slipped through the back gate, and there we will leave them.

During Precious Jade’s absence, the maids in his apartments amused themselves as they were pleased at draughts, dice and cards, until the floor was strewn with melon-seed shells. Nanny Plum chose this moment to hobble along with her cane to call on Precious Jade and see how he was. She shook her head over the way the maids were carrying on behind his back. “Since I’ve moved out and don’t come so often, you’ve grown quite out of hand,” she scolded. “The other nurses don’t dare take you to task either. ”As for Precious Jade, he’s like a ten-foot lampstand that sheds light on others but none on itself. He complains that other people are dirty, yet leaves you to turn his own rooms topsy-turvy. Disgraceful, I call it.”

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:09, 28 April 2021 (UTC)

20210303 culture

2021-06-14T02:49:14Z

Wu Siyi: /* 郭亚波 */

Homework 1 from Mar 3 for Mar 10, 2021

Quicklinks: [[Foundations_of_Chinese_Cultures_2021|Course Homepage]]. [[Joint_translation_terms|Joint translation terms]] Homework [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210421_culture|8, Apr 21 Chapters 17-19]]etc.

'''《红楼梦》程甲本'''

Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:
*Jia Baoyu = Precious Jade
*Jia Yucun = Rain Village
*Lin Daiyu = Mascara Jade
*Zhen Shiyin = Hide-the-facts
*...(everybody please add more here)

请利用《红楼梦大辞典》[[Media:HLMDACIDIAN.PDF]] (I am sorry, I could not upload it, because it is 1 Gigabyte big. Let us look for another way, maybe WeTransfer?)

==Here are some hints, how you edit in a Wiki==
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*A header is made by an equal sign, the text of the header, another equal sign and a return. So do not write anything behind the last equal sign of the header, but write it in the next line.
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* Please sign all of our inputs (not the headers). You sign it by adding the characters "- - ~ ~ ~ ~" without spaces behind your edit. After you click "Save" the characters become a real signature with name and time stamp. Especially when you correct a fellow student homework, you must sign to make clear who corrected it.
*And then there are the special linked files like images, ppt, pdf and Word documents. Most of them you insert with two brackets, like [[Media:something.doc]]. These links appear read as long as the file has not yet been uploaded. Click on the red link to upload the respective file. After uploading, it may still take an hour until the red link becomes blue and links to the file itself.

=郭亚波=

◎第一回甄士隐梦幻识通灵　贾雨村风尘怀闺秀

Chapter 1 Hidden Turth

此开卷第一回也。作者自云曾历过一番梦幻之后，故将真事隐去，而借
“通灵”说此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人？自
己又云：“今风尘碌碌，一事无成，忽念及当日所有之女子，一一细考较去，觉其
行止见识皆出我之上。我堂堂须眉，诚不若彼裙钗，我实愧则有余，悔又无益，
大无可如何之日也！当此日，欲将已往所赖天恩祖德，锦衣纨裤之时，饫甘餍肥
之日，背父兄教育之恩，负师友规训之德，以致今日一技无成，半生潦倒之罪，编
述一集，以告天下，知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自
护己短，一并使其泯灭也。故当此蓬牖茅椽，绳床瓦灶，未足妨我襟怀；况对着
晨风夕月，阶柳庭花，更觉润人笔墨。虽我不学无文，又何妨用假语村言，敷演
出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？故曰‘贾雨
村’云云。更于篇中间用‘梦’‘幻’等字，却是此书本旨，兼寓提醒阅者之意。”

This is the first chapter of the novel. The author himself said after experiencing something fancying, he decided to vanish the truth, and used “tong ling” to the story called The Story of the Stone. That is why the book is Hidden Truth’s telling. But what person and what matter does the novel record? Zhen said “ I am shiftless and unsuccessful. When suddenly recalling the females that day and thinking carefully, I find they are all talented than me. I am really shame that as a male I couldn’t compare with them. But it is useless to regret and I have no idea what to do. Recalling old golden days, I was in silk woven clothes and share treasure of food; rested on my parent’s laurels;disappointed my parents by ignoring the education they gave me; betrayed my teachers and friends by forgetting their advise. I wirite this book to let you know that though I have made a lot mistakes, there are still boudoir girls who worth being remembered. They can be forgotten because of me. Though I live in an ugly house and very poor, it can not stem my sinless heart. What’s more, with the breeze in the morning, the moon in the evening, the willow on the step and the flower in the yard, I have more want to write. Though I am not good at writing fancy words, I can easy-understand words to tell the story of boudoir girls wisely and drolly. While relaxing myself, person of the same kind could be clearer. Isn’t that great? That is why it is called Jia Yucun’s telling. As for words like “meng”, “huan” etc, they are the main idea of this novel and they also alarm people.

This is the first chapter of the novel. The author himself said after experiencing something fancying, he decided to vanish the truth, and used “tong ling” to tell the story called The Story of the Stone. That is why the book is Zhen Shiyin’s telling. But what person and what matter does the novel record? Hide-the-facts said “I am shiftless and unsuccessful. When suddenly recalling the females that day and thinking carefully, I find they are all more talented than me. I am really ashamed that as a male I couldn’t compare with them. But it is useless to regret and I have no idea what to do. Recalling golden old days, I was in silk woven clothes and shared treasure of food; rested on my parent’s laurels; disappointed my parents by ignoring the education they gave me; betrayed my teachers and friends by forgetting their advise. I write this book to let you know that although I have made a lot mistakes, there are still boudoir girls who are worth of being remembered. They can be forgotten because of me. Though I live in an ugly house and am very poor, it can not stem my sinless heart. What’s more, with the breeze in the morning, the moon in the evening, the willow on the step and the flowers in the yard, I want to write more. Though I am not good at writing fancy words, I can use easily-to-understand words to tell the story of boudoir girls wisely and drolly. While relaxing myself, person of the same kind could be clearer. Isn’t that great? That is why it is called Jia Yucun’s telling. As for words like “meng”, “huan” etc., they are the main idea of this novel and they also alarm people.--[[User:Root|Root]] ([[User talk:Root|talk]]) 07:19, 10 March 2021 (UTC)

This is the first chapter of the novel. The author himself said after experiencing something fancying, he decided to conceal the truth, and used “intelligent jade” to compile the story called The Story of the Stone. That is why the book is Hide-the-real-meaning’s telling. But what people and what matter did the novel record? Hide-the-facts said,“I am shiftless and unsuccessful. When suddenly recalling the females in the past and thinking and comparing carefully, I find they are all more talented and knowledgeable than me. I am really ashamed that as a male I can’t compare with them. But it is useless to regret and I have no idea what to do. Recalling golden old days, I was in silk woven clothes and shared treasure of food; rested on my parent’s laurels; disobeyed my parents and elder brothers by ignoring the education they gave me; betrayed my teachers and friends by forgetting their advise. I have wasted half of my life and that's why I am shiftless now. I write this book to let you know that although I have made a lot of mistakes, there are still boudoir girls who are worth of being remembered. They cannot be forgotten because of my mistakes. Though I live penniless in a shabby nut, it can not stem my sinless heart. What’s more, with the breeze in the morning, the moon in the evening, the willow on the step and the flowers in the yard, I want to write more. Though I have no special talent in writing, I can use the made-up stories to tell the story of boudoir ladies and make it widely known. It can not only divert readers but also alert people who are in trouble like me. Isn’t that great? That is why it is called plain words' telling. As for words like “dream”, “fantasy” etc., they are the main idea of this novel and they can also alarm readers.__[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:21, 10 March 2021 (UTC)

=伍斯仪=
看官：你道此书从何而起？说来虽近荒唐，细玩深有趣味。却说那女娲氏
炼石补天之时，于大荒山无稽崖炼成高十二丈、见方二十四丈大的顽石三万六
千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰
下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小，固见众石俱得补
天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。

一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来
到这青埂峰下，席地坐谈。见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属
可爱，那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处，须得
再镌上几个字，使人人见了便知你是件奇物，然后携你到那昌明隆盛之邦、诗礼
簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知
可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”说
毕，便袖了，同那道人飘然而去，竟不知投向何方。

Dear readers，do you know where this book comes from? Its origin sounds ridiculous, but if you ponder over it, you will find it quite interesting. Once upon a time, there was a goddess named Nvwa who refined stones to mend the sky. On the Nonsense cliff of absurd mountain, Nvwa refined thirty-six thousand five hundred and one hard stones, each of them was twelve zhang in height (about 40 meters), twenty-four zhang in length and width (about 6400 square meters). She used thirty-six thousand five hundred stones, and threw the one left unused at the foot of Loveroot peak. However, this stone was much more than an ordinary stone after being refined by Nvwa. It had awareness, and it could come and go freely and change its size. As it realized all the other stones were used to mend the sky and only itself was abandoned as useless, it mourned day and night, complaining itself.
One day, when the stone was mourning, a monk and a Taoist came from a distance. They looked as extraordinary handsome as gods, and went to the foot of Love-root peak, sitting and talking on the ground. Suddenly, they found the stone and fell in love with this crystal clear, fan-pendant-like one. The monk held it in his hands and laughed, “the shape of the you is uncommon but you are still useless, I must engrave some characters on you so that people can see at a glance that you are something special. Then I will take you to prosperous countries, scholarly and noble families, lands of flowers and willows, or warm and rich places.” After hearing it, the stone was overjoyed so it asked the monk, “could you please tell me what characters will you engrave on me, and where will you take me to?” The monk laughed and said, “you don’t need to ask now, you will see it eventually.” He finished that and put the stone in his sleeve, then floated away with the Taoist, nobody knew where did they go.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 04:28, 19 May 2021 (UTC)

Dear readers，do you know where this book comes from? Its origin sounds ridiculous, but if you ponder over it, you will find it quite interesting. Once upon a time, there was a goddess named Nvwa who refined stones to mend the sky. On the Nonsense cliff of absurd mountain, Nvwa refined thirty-six thousand five hundred and one hard stones, each of them was twelve zhang in height (about 40 meters), twenty-four zhang in length and width (about 6400 square meters). She used thirty-six thousand five hundred stones, and threw the only one left unused at the foot of Love-root peak. However, this stone was much more than an ordinary stone after being refined by Nvwa. It had awareness, and it could come and go freely and change its size. As it realized all the other stones were used to mend the sky and only itself was abandoned as useless, it mourned day and night, complaining itself.
One day, when the stone was mourning, a monk and a Taoist came from a distance. They looked as extraordinary handsome as gods, and went to the foot of Love-root peak, sitting and talking on the ground. Suddenly, they found the stone and took a fancy to this crystal clear, fan-pendant-like one. The monk held it in his hands and laughed, “the shape of the you is uncommon but you are still useless, I must engrave some characters on you so that people can see at a glance that you are something special. Then I will take you to prosperous countries, scholarly and noble families, lands of flowers and willows, or warm and rich places.” After hearing it, the stone was overjoyed so it asked the monk, “could you please tell me what characters will you engrave on me, and where will you take me to?” The monk laughed and said, “you don’t need to ask now, you will see it in days to come.” He finished that and put the stone in his sleeve, then floated away with the Taoist.Nobody knew where did they go.--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 14:50, 15 March 2021 (UTC)

=王沁瑜=
又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂
峰下经过，忽见一块大石，上面字迹分明，编述历历；空空道人乃从头一看，原来
是无才补天、幻形入世、被那茫茫大士渺渺真人携入红尘、引登彼岸的一块顽
石，上面叙着堕落之乡，投胎之处，以及家庭琐事，闺阁闲情，诗词谜语，倒还全
备。只是朝代年纪，失落无考。后面又有一偈云：

无才可去补苍天，枉入红尘若许年；此系身前身后事，倩谁记去作奇传？

空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故
事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来，第一件，
无朝代年纪可考；第二件，并无大贤大忠、理朝廷、治风俗的善政，其中只不过几
个异样女子，或情或痴，或小才微善，我纵然抄去，也算不得一种奇书。”石头果
然答道：“我师何必太痴！我想历来野史的朝代，无非假借‘汉’‘唐’的名色，莫
如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史
中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数。更有一种风月笔墨，其淫秽
污臭，最易坏人子弟。至于才子佳人等书，则又开口‘文君’，满篇‘子建’，千部
一腔，千人一面，且终不能不涉淫滥。
Without knowing passing how many lifetimes and disasters, because a Taoist, Kong Kong, visiting the fairy and asking for Daoism, passes by the big desolate mount, WuJi Cliff, QinGen Peak and suddenly sees a big stone. The writing on it is legible and clear. The Taoist then reads from the beginning. It turns out to be the stone without the capacity to mend the sky and then changing its shape to enter the world. Manjusri MangMang and Masado MiaoMiao took the stone to human society and guided it to the other world. The stone contains the townships of degeneration, the places of reincarnation, household affairs, lady’s retreats, poems and riddles, which is quite complete. But the time record is missing and can’t be verified. And there is an epigram, saying that:
Without the capacity to mend the sky/
Spending many years in human society for nothing/
Things about the past and present/
Who can record and spread it?/
Taoist KongKong reads a chapter and knows the stone has some backgrounds, so he says to the stone, “Brother Stone, as for yourself, the story is funny so you engraved it here in order to spread it to the world. As for me, the first thing has no time record to be verified, The second one is not good governance about wisdom, loyalty, court management, custom running. There are only several ladies, some being spoony, some having a little talent and kind. Though I copy it, it is not a master piece.” As expected, the stone answers, ”Why you are so ridiculous? I think that the unofficial histories from all dynasty are in the name of “Han”,”Tang” dynasty, unlike the record on my stone, which is written though my own logic and is fresh. And that unofficial histories frame the monarch, talk down others’ wives and daughters, record the rape and evil. So many like these. Also, the foul languages are easily to affect the readers. As to the books about talented scholars and lovely ladies, are full of “WenJun” and ”Zi Jian”. All of these books are showing the same kind of story, so they would overflow.

Without knowing passing how many lifetimes and disasters, because a Taoist, Kong Kong, visiting the fairy and asking for Daoism, passes by the Green Ridge Peak of Non-key Cliff in Big Barren Mountain and suddenly sees a big stone. The writing on it is legible and clear. The Taoist then reads from the beginning. It turns out to be the stone without the capacity to mend the sky and then changing its shape to enter the world. Manjusri MangMang and Masado MiaoMiao took the stone to human society and guided it to the other world. The stone contains the townships of degeneration, the places of reincarnation, household affairs, lady’s retreats, poems and riddles, which is quite complete. But the time record is missing and can’t be verified. And there is an epigram, saying that:
Without the capacity to mend the sky/
Spending many years in human society for nothing/
Things about the past and present/
Who can record and spread it?/
Taoist KongKong reads a chapter and knows the stone has some backgrounds, so he says to the stone, “Brother Stone, as for yourself, the story is funny so you engraved it here in order to spread it to the world. As for me, the first thing has no time record to be verified, The second one is not good governance about wisdom, loyalty, court management, custom running. There are only several ladies, some being spoony, some having a little talent and kind. Though I copy it, it is not a master piece.” As expected, the stone answers, ”Why you are so ridiculous? I think that the unofficial histories from all dynasty are in the name of “Han”,”Tang” dynasty, unlike the record on my stone, which is written though my own logic and is fresh. And that unofficial histories frame the monarch, talk down others’ wives and daughters, record the rape and evil. So many like these. Also, the foul languages are easily to affect the readers. As to the books about talented scholars and lovely ladies, are full of “WenJun” and ”Zi Jian”. All of these books are showing the same kind of story, so they would overflow.--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:54, 19 May 2021 (UTC)

=杜心语=
在作者不过要写出自己的两首情诗艳赋
来，故假捏出男女二人名姓，又必旁添一小人拨乱其间，如戏中小丑一般。更可
厌者，‘之乎者也’，非理即文，大不近情，自相矛盾。竟不如我半世亲见亲闻的
这几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破
闷；至于几首歪诗，亦可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，
不敢稍加穿凿，至失其真。只愿世人当那醉余睡醒之时，或避事消愁之际，把此
一玩，不但洗了旧套，换新眼目，却也省了些寿命筋力，不比那谋虚逐妄。我师
意为何如？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍，因见上
面大旨不过谈情，亦只实录其事，绝无伤时淫秽之病，方从头至尾抄写回来，闻
世传奇。从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，
改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩
中，披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。
即此便是《石头记》的缘起。诗云：

满纸荒唐言，一把辛酸泪！都云作者痴，谁解其中味？
The author just wanted to write two love poems about himself, so he invented the names of a man and a woman. In order to develop the plot, he would add a villain to alienate them, just like a clown,What's worse, in the previous books about gifted scholars and beauties, the words used by maids and maidservants are as elegant as those used by literati. They are not close to each other and contradict themselves. There are many unreasonable and self contradictory words.Those women are not as brave as those I have known in the past half of my life. Although I dare not say that they are as brave as those women in the past books, I can get some insights from what they have done to dispel the depression in life.Writing articles in this way not only breaks through the old way of writing and changes the new form, but also saves the effort of reading those complicated words before and does not compare with those who are famous and rich.Master, what do you think?After listening to what he said, the master thought for a long time and read the biography of stone again. Considering that it is not allowed to write love stories according to the policy, he only records the facts, and absolutely does not write the immoral plot. Only in this way can he copy it from the beginning to the end, so that people can have a look at this legendary biography. From then on, the master understood all kinds of surface phenomena of the world from the emptiness, and understood the feelings and distress of the world from the surface phenomena. Then he extricated himself from the emptiness, and understood that these were caused by the surface of the external things. Finally, he understood that the performance of the external things was finally nothing.So the stone biography was renamed the biography of infatuated monks.Kong meixi,the Lu people in the East,is named it as A record of romantic affairs,After Cao xueqing read for ten years, added, modified and deleted five times, compiled a catalogue, divided chapters, gave it a name as The Twelve Beauties of jingling and wrote a quatrains. This is the origin of stone biography. The quatrains are: the whole book is full of absurd words, but it is full of tears. They all say that the author is too obsessed with children's love, but who can really understand the meaning of the book?
1.
"其间离合悲欢，兴衰际遇，俱是按迹循踪，
不敢稍加穿凿，至失其真。" This sentence may mean "Ups and downs, sadness and happiness in that are all in an order, I am not dare to give a farfeched change which may lead to misunderstanding."
2."stone biography" should be "Stone Biography"
--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:05, 9 March 2021 (UTC)

=么阳=
《石头记》缘起既明，正不知那石头上面记着何人何事，看官请听—————

按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门，最是红尘中
一二等富贵风流之地。这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，
因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐，嫡妻
封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。因这甄
士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一
流人物。只是一件不足，年过半百，膝下无儿，只有一女，乳名英莲，年方三岁。
一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉朦胧中走至一
处，不辨是何地方。忽见那厢来了一僧一道，且行且谈，只听道人问道：“你携了
此物，意欲何往？”那僧笑道：“你放心，如今现有一段风流公案，正该了结，这一
干风流冤家尚未投胎入世，趁此机会，就将此物夹带于中，使他去经历经历。”那
道人道：“原来近日风流冤家又将造劫历世，但不知起于伺处？落于何方？”
The origin of《The Story of the Stone》is clear, but what recorded on it is still unknown, my dear audience, please listen carefully——
According to the stone: long time ago the ground becomes downward in the southeast. There is a city called Gusu whose the first or second prosperous distinct is near Chang Gate.
Outside Chang Gate is a Power-obsessed Street, and somewhere off this street is called Alley of Relationship in which an ancient temple stands. How narrow the place is! So the temple is named as Bottle Gourd Temple. Near the temple lived a gentleman, Mr. Hidden-the-Truth, who used to be an officer, with his kind, intelligent wife. Though he is not particularly rich, still enough to receive the locals' respect. Because Zhen Shiyin (Mr. Hidden-the-Truth) is not interested in money and fame but in flowers, bamboos, poems and wines. He lives a happy life as long as you do not mention he is over fifties but only has a three-year-old daughter, Ying Lian, as his offspring. One hot summer day, he was sitting in the study casually, sleepy to loose his clench of the book, then lying on the desk. In his dream, he came to a strange place. Suddenly, a monk and a Taoist appeared, walking and talking." What's your destination with the thing you bring?" said the Taoist. The monk replied with a smile:" Don't worry. Now there is a romantic case need to be solved. It has never entered the world. By this chance, I'd like to make it a person to have some experiences." The Taoist said:" So this romantic guy will get through the dilemmas and difficulties of life in the mortal world again. Where does he begin? Where to descend?"
1.The ground becomes downward — the ground dipped downward
2.Power-obsessed street — Ten-Mile Street
3. There is a city called Gusu whose the first or second prosperous distinct is near Chang Gate-the quarter around Chang Gate of Gusu was one of the most fashionable centers of wealth and nobility in the world.
4.Alley of Relationships-Lane of Humanity and Purity
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 15:18, 9 March 2021 (UTC)Tang Hui
The origin of《The Story of the Stone》is clear, but what recorded on it is still unknown, my dear audience, please listen carefully——
According to the stone: long time ago the ground becomes downward in the southeast. There is a city called Gusu whose the first or second prosperous distinct is near Brothel Gate.
Outside Brothel Gate is a Worldly Street, and somewhere off this street is called Carnal Line in which an ancient temple stands. How narrow the place is! So the temple is named as Gourd Temple. Near the temple lived a gentleman, Mr. Hidden-the-Truth, who used to be an officer, with his kind, intelligent wife. Though he is not particularly rich, still enough to receive the locals' respect. Because Mr. Hidden-the-Truth is not interested in money and fame but in flowers, bamboos, poems and wines. He lives a happy life as long as you do not mention he is over fifties but only has a three-year-old daughter, Miss.Pity, as his offspring. One hot summer day, he was sitting in the study casually, sleepy to loose his clench of the book, then lying on the desk. In his dream, he came to a strange place. Suddenly, a monk and a Taoist appeared, walking and talking." What's your destination with the thing you bring?" said the Taoist. The monk replied with a smile:" Don't worry. Now there is a romantic case need to be solved. It has never entered the world. By this chance, I'd like to make it a person to have some experiences." The Taoist said:" So this romantic guy will get through the dilemmas and difficulties of life in the mortal world again. Where does he begin? Where to descend?"--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:24, 26 April 2021 (UTC)

=汤惠=
那僧道：“此事说来好笑。只因西方灵河岸上三生石畔有绛珠草一株，那时这个
石头因娲皇未用，却也落得逍遥自在，各处去游玩，一日来到警幻仙子处，那仙
子知他有些来历，因留他在赤霞宫居住，就名他为赤霞宫神瑛侍者。他却常在
灵河岸上行走，看见这株仙草可爱，遂日以甘露灌溉，这绛珠算草始得久延岁月。
后来既受天地精华，复得甘露滋养，遂脱了草木之胎，得换人形，仅仅修成女体，
终日游于‘离恨天’外，饥餐‘秘情果’，渴饮‘灌愁水’。只因尚未酬报灌溉之
德，故甚至五内郁结着一段缠绵不尽之意，常说‘自己受了他雨露之惠，我并无
此水可还，他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还
得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在
其中。今日这石复还原处，你我何不将他仍带到警幻仙子案前，给他挂了号，同
这些情鬼下凡，一了此案。”那道人道：“果是好笑，从来不闻有‘还泪’之说。趁
此你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同
我到警幻仙子宫中，将这‘蠢物’交割清楚，待这一干风流孽鬼下世，你我再
去。————如今有一半落尘，然犹未全集。”道人道：“既如此，便随你去来。”
“It’s a funny story,” The monk said, “In the west, there was a Red Bead grass growing on the bank of the Ling River besides the Three Lifetime Stone. This stone was not used by Nuwa at that time, wandering everywhere at ease. One day he came to the fairy Disenchantment, who knew something about his history and kept him as the attendant Shen Ying in the Palace of Red Jade. He often walked on the bank of the Ling River. Seeing this lovely grass, he watered it with sweet dew everyday. As months and years went by, this grass was nourished by the essence of heaven and earth and restored by the sweet dew and finally got rid of the plant nature and changed into a human form, became a girl. She wandered beyond the Li Hen Heaven all day long, eating the “secret fruit of love” and drinking the “water of sorrow”. But her heart was not relaxed because she had not repaid the care of Shen Ying. She said, “I have received his help of rain and dew, but I have no water to return. If he were to be a human being, I would also go with him to pay him back all the tears I have in my life.” For this, many dissolute spirits were willing to descend to the world to creat and experience imaginary fate, including the Red Bead grass. Today this stone would restored to its original place, why don’t you and I still take him to the Jing Huan fairy to let him descend to the world with those spirits and finish this case?” “That’s certainly funny,”remarked the Taoist. “I have never heard of repayment with tears before. Why don’t you and I take this chance to go too and help some of them, isn’t it a merit?” The monk said, “That’s what I was thinking. First let’s take this stupid object to the Jing Huan fairy’s Palace and settle all of his events. After all these romantic spirits have gone, we can follow them. So far half of them have descended to the world, however, not all.” The Taoist said, “In that case, I will follow you.”--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 11:48, 3 May 2021 (UTC)

“It’s amusing,” The monk said, “In the west, there was a Red Bead grass growing on the bank of the Ling River besides the Three Lifetime Stone. This stone was of great freedom as not used by Nvwa at that time, wandering everywhere at ease. One day he came to the fairy Disenchantment, who knew some of his background and asked him to stay as the attendant Shen Ying in the Palace of Red Jade. He often walked on the bank of the Ling River. Considering this immortal plant lovely, he watered it with sweet dew everyday. As months and years went by, this grass was nourished by the essence of heaven and earth and restored by the sweet dew and finally got rid of the plant nature and changed into a human form, as a girl. She wandered beyond the Li Hen Heaven all day long, eating the “secret fruit of love” and drinking the “water of sorrow”. But her heart was heavy because she had not repaid the care of Shen Ying. She said, “I have received his help of rain and dew, but I have no water to return. If he were to be a human being, I would also go with him to pay him back all the tears I have in my life.” For this, many dissolute spirits were willing to descend to the world to creat and experience imaginary fate, including the Red Bead grass. Today this stone would restored to its original place, why don’t you and I still take him to the Jing Huan fairy to let him descend to the world with those spirits and finish this case?” “That’s certainly funny,”remarked the Taoist. “I have never heard of repayment with tears before. Why don’t you and I take this chance to go too and help some of them, isn’t it a merit?” The monk said, “That’s what I was thinking. First let’s take this stupid object to the Jing Huan fairy’s Palace and settle all of his events. After all these romantic spirits have gone, we can follow them. So far half of them have descended to the world, however, not all.” The Taoist said, “In that case, I will follow you.”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 14:26, 13 June 2021 (UTC)

=袁静=
却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧
道也忙答礼相问，士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚
拙，不能洞悉明白，若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免
沉沦之苦。”二仙笑道：“此乃玄机，不可预泄者。到那时只不要忘了我二人，便
可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄，但适云‘蠢物’，
不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”说着取出递与
士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四
字。后面还有几行小字，正欲细看时，那僧便说“已到幻境”，便强从手中夺了
去，与道人竟过一大石牌坊，上面大书四字。乃是“太虚幻境”，两边又有一副对
联道：

假作真时真亦假，无为有处有还无。

士隐意欲也跟了过去，方举步时，忽听一声霹雳，若山崩地陷，士隐大叫一
声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事，便忘了一半。又见奶母抱了
英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，
斗他玩耍一回，又带至街前看那过会的热闹。方欲进来时，只见从那边来了一
僧一道，那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门
前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、
累及爹娘之物抱在怀内作甚？”士隐听了，知是疯话，也不睬他。那僧还说：“舍
我罢，舍我罢！”士隐不耐烦，便抱女儿转身欲进去，那僧乃指着他大笑，口内念
了四句言词，道是：

惯养娇生笑你痴，菱花空对雪澌澌；好防佳节元宵后，便是烟消火灭时。
Hidden truth had heard every word of their conversation, but did not know what was meant by the ‘stupid object.'He could not resist accosting them with a bow. "Greetings, immotal masters!" he said with a smile. When they had retumed his greeting he continued: “Rare indeed is the opportunity to listen to such a discussion of cause and effects as I have just heard. But I am too dull to grasp it. If you would kindly elucidate to enlighten me, I promise to listen most attentively. For profiting by your wisdom may prove my salvation.” “This is a mystery which we cannot divulge." The two immortals smiled. “When the time comes, think of us.Then you may be able to escape from the fiery pit.” So Shiyin could not ask further questions. “I mustn't probe into a mystery," he said, “but could you show me that object you mentioned just now?” If you want to know, I have once meet with it," said the monk. With that he produced a beautiful piece of translucentjade and handed it to Hidden Truth. On the obverse were carved the words “Precious Jade of Tongling”. Before Hidden truth could look carefully at the lines of smaller characters on the reverse, the monk snatched it away from him, saying, "We've reached the Land of llusion."He passed with the Taoist through a large stone archwayon which was inscribed: llusory Land of Great Void. Acouplet on the two pillars read:When false is taken for true, true becomes false; If non-being turns into being, being becomes non-being.
Hidden truth prepared to follow after the two immortals when he heard a fearful crash, as if mountains had collapsed and the earth split asunder. With a shout he woke up and stared about him. There was the fiery sun still blazing down on the rustling plantain leaves. Already half of his dream had slipped his mind. The wet nurse came up then with Pity Zhen in her arms, and it struck Hidden truth that his daughter was growing prettier and more lovable. He picked her up and played with her for a while, then took her to the gate to watch a religious procession pass by. He was just about to go in again when a monk and a Taoist priest drew near, laughing and gibbering like two maniacs. The monk was barefooted, his head scabby; the priest, lame with tangled and tousled hair. When they reached Hidden truth's gate and saw the child in his arms, the monk burst into lamentations. “Why are you carrying that illflted creature, sir?” he asked. “She has no fortune and will bring nothing but trouble to her parents.” Hidden truth thought the man was raving and paid no attention. “Give her to me!" cried the monk, “Give her to me!" Losing patience, Hidden truth clasped his daughter and turned to reenter the house when the monk pointed at him and let out a mar of laughter. He then declaimed, “Fool to care for this tender child; An image in the mirror, snow melting away; Beware what will follow the Lantem Feast; The vanishing like smoke when the fire burns out.

1、Change the“stupid object” to “stupid”
2、“Rare indeed” couldn’t be a subject for it is not a noun phrase. How about “ The opportunity is rare indeed to listen to......”
3、 Maybe “cause and effects” could change to “an event”.
4、 Change “think of us” to “don’t forget us.”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 14:23, 9 March 2021 (UTC)Liu Tingyang

=刘廷阳=
士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，
就此分手，各干营生去罢，三劫后我在北邙山等你，会齐了，同往太虚幻境销
号。”那僧道：“最妙，最妙！”说毕，二人一去再不见个踪影了。士隐心中此时自
忖：这两个人必有来历，很该问他一问，如今后悔却已晚了。

这士隐正痴想，忽见隔壁葫芦庙内寄居的一个穷儒————姓贾名化、表字时
飞、别号雨村的走了来。这贾雨村原系湖州人氏，也是诗书仕宦之族，因他生于
末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口，在家乡无益，因进京求
取功名，再整基业。自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为
生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，
敢街市上有甚新闻么？”士隐笑道：“非也，适因小女啼哭，引他出来作耍。正是
无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。”说着，便令人选女儿
进去，自携了雨村，来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严
老爷来拜。”士隐慌的忙起身谢罪道：“恕诓驾之罪，略坐，弟即来奉陪。”雨村起
身亦让道：“老先生请便。晚生乃常造之客，稍候何妨。”说着士隐已出前厅去
了。Shiyin listened to it clearly. With hesitation, he was intended to ask their origins, while the Taoist said: “There is no need to go with each other. Time to separate now. Just do our own jobs. I am to wait you on Beimang Mountain after the three kalpa. As we meet, we will go to the Illusory Land of Great Void for the cancellation.” The monk said: “Wonderful! Wonderful!” They finished talking and vanished from Shiyin’s sight. Shiyin speculated that that was something special about these two people.
When he was mooning over it, he noticed a poor scholar Jia Yucun, whose given name is “Hua” and who styled himself as “Shifei”, walking towards him. Jia Yucun is living in the near Gourd Temple, but he was from a well-educated and official family in Huzhou. For he was born in the last reign of a dynasty, the family had been declining in status and populations. As the only person of the family, there was profitless to stay in hometown, so he resolved to the imperial City to be an official and staged a comeback. As he came for 2 years, and his house was submerged, Jia Yucun chose to stay in the temple temporarily and lived by writing articles, which connected Shiyin and him. Jia Yucun encountered Shiyin, bowing smilingly: “You are leaning against the door, sir. Is there something news?”Shiyin said with a laugh: “No, only letting my crying daughter to play outside. Actually, I am boring. It is time for us to go into the room and enjoy the wonderful day.” He was going to the room with Yucun while asking his servant to bring his daughter in, and came to the study. A reading attendant was making tea beside. Just having a short conversation, a servant rushed in and said:“Mr. Yan is coming.” Shiyin hurriedly stood up, feeling sorry for Yucun, and said:“ I crave your pardon for my temporarily leaving. Please wait me for a second, I will come back as soon as possible.”Yucun also standed by: “Do as you please, sir. I am a regular visitor in here, and it’s easy to stay longer. ” As he had finished his words, Shiyin was already go out of the front room.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 14:58, 9 March 2021 (UTC)Liu Tingyang

Shiyin listens to it clearly and then hesitate. When he is intended to ask his origins,the Taoist says: “There is no need to go with each other. Time to separate now. Just do our own jobs. I am to wait you on Beimang Mountain after three kalpa. Next time we meet, we will go to the Illusory Land of Great Void for a cancellation.” The monk says: “Wonderful! Wonderful!”After talking, they are out of Shiyin’s sight. Shiyin speculated that these two people must be somebody enigmatic. --Li Yihao

Hidden Truth listened to it clearly. With hesitation, he was intended to ask their origins, while the Taoist said: “There is no need to go with each other. Time to separate now. Just do our own jobs. I am to wait you on Beimang Mountain after the three kalpa. As we meet, we will go to the Illusory Land of Great Void for the cancellation.” The monk said: “Wonderful! Wonderful!” They finished talking and vanished from Hidden Truth’s sight. Hidden Truth speculated that that was something special about these two people. When he was mooning over it, he noticed a poor scholar Rain village Merchant, whose given name is “Hua” and who styled himself as “Shifei”, walking towards him. Rain village Merchant is living in the near Gourd Temple, but he was from a well-educated and official family in Huzhou. For he was born in the last reign of a dynasty, the family had been declining in status and populations. As the only person of the family, there was profitless to stay in hometown, so he resolved to the imperial City to be an official and staged a comeback. As he came for 2 years, and his house was submerged, Rain village Merchant chose to stay in the temple temporarily and lived by writing articles, which connected Hidden Truth and him. Rain village Merchant encountered Hidden Truth, bowing smilingly: “You are leaning against the door, sir. Is there something news?”Hidden Truth said with a laugh: “No, only letting my crying daughter to play outside. Actually, I am boring. It is time for us to go into the room and enjoy the wonderful day.” He was going to the room with Rain village while asking his servant to bring his daughter in, and came to the study. A reading attendant was making tea beside. Just having a short conversation, a servant rushed in and said:“Mr. Yan is coming.” Hidden Truth hurriedly stood up, feeling sorry for Rain village, and said:“ I crave your pardon for my temporarily leaving. Please wait me for a second, I will come back as soon as possible.”Rain village also standed by: “Do as you please, sir. I am a regular visitor in here, and it’s easy to stay longer. ” As he had finished his words, Hidden Truth was already go out of the front room.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 10:40, 27 April 2021 (UTC)

=李艺浩=
这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声，雨村遂起身往外一
看，原来是一个丫鬟在那里掐花，生得仪容不俗，眉目清秀，虽无十分姿色，却也
有动人之处，雨村不觉看得呆了。那甄家丫鬟掐了花，方欲走时，猛抬头见窗内
有人，敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方
腮。这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛，想他定
是我家主人常说的什么贾雨村了，每有意帮助周济他，只是没甚机会。我家并
无这样贫窘亲友，想一定就是此人了，怪道又说他必非久困之人。”如此想，不免
又回头一两次。雨村见他回了头，便以为这女子心中有意于他，便狂喜不禁，自
谓此女子必是个巨眼英豪，风尘中之知己。一时小童进来，雨村打听得前面留
饭，不可久待，遂从夹道中自便门出去了。士隐待客既散，知雨村已去，便也不
去再邀。

一日到了中秋佳节，士隐家宴已毕，又另具一席于书房，自己步月至庙中
来邀雨村。原来雨村自那日见了甄家之婢曾回顾他两次，自谓是个知己，便时
刻放在心上，今又正值中秋，不免对月有怀，因而口占五言一律云：

Jia Yucun reads collection of poems abstractedly in order to kill time here. Suddenly, a girl’s cough comes in from the window, so he stands up and looks out. It turns out a servant girl, who is charming , comely and not extremely beautiful but uniquely beautiful, is nipping off flowers. Without any notice, he stares the girl motionlessly. When the servant girl of the Zhen is about to leave with nipped flowers , she looks up suddenly and sees someone else in old clothes behind the window. Although the man is poor and shabby, he is robust in the appearance of broad and square face, a big mouth, sparkled eyes, dashing eyebrows, and a straight nose. The servant turns quickly to avoid him, saying to herself: This man is so robust but so shabby, so Jia Yucun who referred frequently by my owner should be him. My owner always is willing to finance him but there is few chance. There are no such poor and shabby friends and relatives in our family, so he must be Jia Yucun. It is strange to reckon he will have a promising future. With this thought, the servant girl turns round and looks at him once or twice. Jia Yucun notices her glances and then jauntily and ecstatically feels this girl loves him. With that in the mind, he deems she is with acute vision and is his bosom friend in chaotic society. At this time, another servant comes in and answers to Jia Yucun that the owner would like him to have a meal at home. After knowing this message, the thought of hurrying to leave occurs to him and urges him to go out this big house through the narrow path towards a little door. It is until the gestures leaving that Jia Shiyin knows the message of Jia Yucun’s departure. As a result, Jia Shiyin does not invite him again. At the Mid-Autumn Festival, Jia Shiyin lets servants to place another new dining table in the study after the family feast and then goes for a walk in the moonlight to go to a temple to invite Jia Yucun. Unexpectedly, Jia Yucun keeps the servant girl in mind all the time, regarding her as a bosom friend, since the day he sees her looking back to him twice. One day is time for the Mid-Autumn Festival, so he, looking at the moon, can’t resist his feeling. As a result, a poem with five characters to one line is bubbled from his mouth:
——Li Yihao 李艺浩

Jia Yucun reads collection of poems abstractedly in order to kill time here. Suddenly, a girl’s cough comes in from the window, so he stands up and looks out. It turns out a servant girl, who is charming , comely and not extremely beautiful but uniquely beautiful, is nipping off flowers. He stares the girl motionlessly before he realizes it. When the servant girl of the Zhen is about to leave with nipped flowers , she looks up suddenly and sees one person in old clothes behind the window. Although the man is poor and shabby, he is robust in the appearance of broad and square face, a big mouth, sparkled eyes, dashing eyebrows, and a straight nose. The servant turns quickly to avoid him, saying to herself: This man is so robust but so shabby, so Jia Yucun who referred frequently by my owner should be him. My owner is always willing to finance him but there is little chance. There are no such poor and shabby friends and relatives in our family, so he must be Jia Yucun. It is no wonder that he will have a promising future. With this thought, the servant girl looks back once or twice. Jia Yucun notices her back head and thinks that this girl tends to like him, then he feels thrilled. With this though in the mind, he deems she is with acute vision and is his bosom friend during his difficult journey. At this time, another servant comes in and answers to Jia Yucun that the owner would like him to have a meal at home. After knowing this message, the thought of hurrying to leave occurs to him and urges him to go out this big house through the narrow path passing a little door. Shiyin waits until all the guests leave, knowing Yucun has gone. Then Shiyin does not invite him again. One day celebrated the Mid-Autumn Festival, Shiyin lets servants to place another new dining table in the study after the family feast and then walks accompanied by the moonlight towards the temple to invite Jia Yucun. Unexpectedly, Jia Yucun has been keeping the servant girl in his mind all the time, regarding her as a bosom friend, since the day he saw her looking back several times. This thought comes on the Mid-Autumn Festival. Thus, he becomes emotional and then improvises a five-character poem: —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 14:16, 9 March 2021 (UTC)

=王静怡=
未卜三生愿，频添一段愁；闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。
雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：

玉在椟中求善价，钗于奁内待时飞。

恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”雨村忙笑道：“不敢，不过偶
吟前人之句，何期过誉如此。”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，
俗谓‘团圆之节’，想尊兄旅寄僧房，不无寂寥之感，故特具小酌，邀兄到敝斋一
饮，不知可纳芹意否？”雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛
情。”说着，便同了士隐复过这边书院中来。
须臾茶毕，早巳设下杯盘，那美酒佳肴，自不必说。二人归坐，先是款斟慢
饮，渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌，当头
一轮明月，飞彩凝辉，二人愈添豪兴，酒到杯干。雨村此时已有七八分酒意，狂
兴不禁，乃对月寓怀，口占一绝云：

时逢三五便团??，满把清光护玉栏；天上一轮才捧出，人间万姓仰头看。
Having never anticipated the wishes for three lives, always adding a period of sorrow; frowned anxiously from time to time when bored, turned my head around once or more while leaving. Staring at my shadow in the wind, how do I deserve a partner I date under the moon? If the moonlight understands me, hope the boudoir could be recalled missing by the moonlight. After reciting it, Rain village happened to think of his ambition during the lifetime, suffering from living in the inappropriate age. Scratching his head, he sighed towards the sky and recited another couplet:
The good jade in the case fetch a good price, the pin in the casket longs to soar on high.
Hide-the-facts happened to come across and heard Rain village’s carplet, smiling:”Bro. Rain village really has remarkable ambition!” Rain village smiled shily:” I’m afraid I could not bear this feast. I just randomly recited few sentences written by predecessors, having never expected such a high praise.” Then he asked:” Would you come here for some interests?” Hide-the-facts smiled:” Tonight is the Mid-autumn Festival which is commonly called” the festival of reunions”. I consider that dear brother toured here and lived in the monk’s dormitory and it is inevitable to have lonesome feelings, so I especially prepare some distilled spirits to invite you to drink in room. Would you like to accept my slender courtesy?” Having heard those words, Rain village didn’t refuse and smiled:” Having got this strong affection, I do not dare to resist your goodwill. At the same time, he followed Hide-the-facts walking into the college again.
They finished the tea in a while. Cups and plates have been prepared formerly, let alone the good spirits and cuisines. They came back and sit down. At first they slowly poured and drank the wine, then when chatting much more happily, they began to pushing with each other before they realized it. At that time, every family on the street were playing the instruments in a merry atmosphere, a light and shiny moon above their heads. Watching this scene, they got more excited so that the wine was instantly drunk as soon as it was poured. Rain village now was almost drunken, thus he was very thrilled and expressed his emotion towards the moon. He improvised:” Reunions appear when the moon is fully round, jade balustrade soaked by the unlimited moonlight. The moon just coming out, all the people raise their head to admire.” —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 13:25, 9 March 2021 (UTC)

Having never anticipated the wishes for three lives, always adding a period of sorrow; frowned anxiously from time to time when bored, turned my head around once or more while leaving. Staring at my shadow in the wind, how do I deserve a partner I date under the moon? If the moonlight understands me, hope the boudoir could be recalled missing by the moonlight. After reciting it, Yucun happened to think of his ambition during the lifetime, suffering from living in the inappropriate age. Scratching his head, he sighed towards the sky and recited another couplet: The good jade in the case fetch a good price, while the pin in the casket longs to soar on high. Shiyin happened to come across and heard Yucun’s carplet, smiling:” Mr. Merchant really has remarkable ambition!” Rain village Merchant smiled shily:” I’m afraid I could not bear this appreciation. I just randomly recited a few sentences written by predecessors, having never expected such a high praise.” Then he asked:” Would you come here for some interests?” Shiyin smiled:” Tonight is the Mid-autumn Festival which is commonly called” the festival of reunions”. I consider that dear brother toured here and lived in the monk’s dormitory and it is inevitable to have lonesome feelings, so I especially prepare some distilled spirits to invite you to drink in room. Would you like to accept my slender courtesy?” Having heard those words, Yucun didn’t refuse and smiled:” Having got this strong affection, I do not dare to resist your goodwill. At the same time, he followed Shiyin walking into the academy again. They finished the tea in a while. Cups and plates have been prepared formerly, let alone the good spirits and cuisines. They came back and sat down. At first they slowly poured and drank the wine, then when chatting much more happily, they began to pushing with each other before they realized it. At that time, every family on the street were playing the instruments in a merry atmosphere, with a light and shiny moon above their heads. Watching this scene, they got more excited so that the wine was instantly drunk as soon as it was poured. Yucun now was almost drunken, thus he was very thrilled and expressed his emotion towards the moon. He improvised:” Reunions appear when the moon is fully round, jade balustrade soaked by the unlimited moonlight. The moon just coming out, all the people raise their head to admire.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 14:15, 9 March 2021 (UTC)

=戴沐雨=
士隐听了大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已见，
不日可接履于云霄之上了。可贺，可贺！”乃亲斟一斗为贺。雨村饮干，忽叹道：
“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名，只是如今行囊路费，
一概无措，神京路远，非赖卖字撰文即能到得。”士隐不待说完，便道：“兄何不早
言，弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，
义利二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闹一捷，方不负兄
之所学。其盘费余事，弟自代为处置，亦不枉兄之谬识矣。”当下即命小童进去
速封五十两白银并两套冬衣，又云：“十九日乃黄道之期，兄可即买舟西上，待雄
飞高举，明冬再晤，岂非大快之事。”雨村收了银衣，不过略谢一语，并不介意，仍
是吃酒谈笑。那天已交三鼓，二人方散。

士隐送雨村去后，回房一觉，直至红日三竿方醒，因思昨夜之事，意欲写荐
书两封与雨村带至都中去，使雨村投谒个仕宦之家为寄身之地，因使人过去请
时，那家人回来说：“和尚说：‘贾爷今日五鼓已进京去了，也曾留下话与和尚转
这老爷，说：‘读书人不在‘黄道’‘黑道’，总以事理为要，不及面辞了。’”士隐
听了，也只得罢了。
Hearing that, Shiyin exclaimed, ”That’s fantastic! I’ve been always regarding you as the man who dare not to be inferior to others. As I read your sentences now, they burst out the image of soaring, almost implicitly rushing above the clouds. It seems that I could congratulate your success in advance. Congratulations!” Then he poured a hodful of spirit as the handsel. Yucun emptied the cup but suddenly sighed:”Firstly I promise that what I will say is my real sentiment, not due to the stimulation of the alcohol. When it comes to the current situation, I might be qualified to register for the imperial competitive examination. However, I have no idea how to get to the far away capital with shriveled pockets. After all, the payment of the calligraphy and paintings cannot offer the cost.” Not until he could finish, Shiyin interposed:”Why don’t you tell me before? I’ve been considering it for a long time. Each time I meet you, I give up discussing it with you in the case of offending you. Now that you have such ambition, I’d like to spare no effort to assist you. Although I’m not smart enough, I value the brotherhood between us and understand the order of importance and emergency. Next year will be the year of the imperial competitive examination exactly, and you’re supposed to go to the capital immediately, getting wonderful grades and fully displaying your ability. As for expenses and other trifles, I will arrange them all to live up to your belief.” Instantly calling the servant to prepare for the 50 tael and two winter clothes, he enjoined:”The 19th is the ecliptic day that you could boat to the west. It is expected that when we meet next winter, you’ll have achieved remarkable success.” Receiving the money, Yucun just appreciated the generosity a little and continued to drink and chat, not separated with each other until the midnight.
Sending Yucun back home, Shiyin went to bed and awoke till late in the morning. Thinking of the plan talked yesterday night, he intended to write several recommendation letters giving to Yucun so that he would have the opportunity to look for some officials to get a shelter. Therefore, he required a servant to invite Yucun, but what the servant brought back is a monk’s reply that Mr.Jia has already left at around 4 A.M. and wanted to convey the message to Mr.Zhen that scholars don’t care about whether the date is the ecliptic or not and what they matter the most is the knowledge itself. That’s the reason why Yucun left without the farewell. After Shiyin hearing that, he agreed with Yucun and let him go.

Hearing that, Shiyin exclaimed, ”That’s fantastic! I’ve been always regarding you as the man who are willing to be subordinate to others. As I read your sentences now, which burst out the image of soaring, almost implicitly rushing above the clouds. It seems that I could congratulate your success in advance. Congratulations!” Then he poured a hodful of spirit as the handsel(to celebrate). Yucun emptied the cup but suddenly sighed:”Firstly I promise that what I will say is my real sentiment, not due to the stimulation of the alcohol. When it comes to the current situation, I might be qualified to register for the imperial competitive examination. However, I have no idea how to get to the far away capital with shriveled pockets. After all, the payment of the calligraphy and paintings cannot offer(offset) the cost.” Not until he could finish, Shiyin interposed:”Why don’t you tell me before(earlier)? I’ve been considering it for a long time. Each time I meet you, I give up discussing it with you in the case of offending you. Now that you have such an ambition, I’d like to spare no effort to assist you. Although I’m not smart enough, I value the brotherhood between us and understand the order of importance and emergency. Next year will be the year of the imperial competitive examination exactly, and you’re supposed to go to the capital immediately, getting wonderful grades and fully displaying your ability. As for expenses and other trifles, I will arrange them all to live up to your belief.” Instantly calling the servant to prepare for the 50 tael and two winter clothes, he enjoined:”The 19th is the ecliptic day that you could boat to the west. It is expected that when we meet next winter, you’ll have achieved a remarkable success.” Receiving the money, Yucun just appreciated the generosity a little and continued to drink and chat, not separating with each other until the midnight.
Sending Yucun back home, Shiyin went to bed and awoke till late in the morning. Thinking of the plan talked yesterday night, he intended to write several recommendation letters given to Yucun so that he would have the opportunity to look for some officials to get a shelter. Therefore, he required a servant to invite Yucun, but what the servant brought back is a monk’s reply that Mr.Jia has already left at around 4 A.M. and wanted to convey the message to Mr.Zhen that scholars don’t care about whether the date is the ecliptic or not and what they matter most is the knowledge itself. That’s the reason why Yucun left without the farewell. After Shiyin hearing that, he agreed with Yucun and let him go.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 04:42, 10 March 2021 (UTC)

Hearing that, Hide-the-truth exclaimed, "That's fantastic! I've been always regarding you as the man who are willing to be subordinate to others. As I read your sentences now, which burst out the image of soaring, almost implicitly rushing above the clouds. It seems that I could congratulate your success in advance. Congratulations!" Then he poured a hodful of spirit as the handsel(to celebrate). Rain-village emptied the cup but suddenly sighed: "Firstly I promise that what I will say is my real sentiment, not due to the stimulation of the alcohol. When it comes to the current situation, I might be qualified to register for the imperial competitive examination. However, I have no idea how to get to the far away capital with shriveled pockets. After all, the payment of the calligraphy and paintings cannot offer(offset) the cost." Not until he could finish, Hide-the-truth interposed: "Why don't you tell me before(earlier)? I've been considering it for a long time. Each time I meet you, I give up discussing it with you in the case of offending you. Now that you have such an ambition, I'd like to spare no effort to assist you. Although I'm not smart enough, I value the brotherhood between us and understand the order of importance and emergency. Next year will be the year of the imperial competitive examination exactly, and you're supposed to go to the capital immediately, getting wonderful grades and fully displaying your ability. As for expenses and other trifles, I will arrange them all to live up to your belief." Instantly calling the servant to prepare for the 50 tael and two winter clothes, he enjoined: "The 19th is the ecliptic day that you could boat to the west. It is expected that when we meet next winter, you'll have achieved a remarkable success." Receiving the money, Rain-village just appreciated the generosity a little and continued to drink and chat, not separating with each other until the midnight.

Sending Rain-village back home, Hide-the-truth went to bed and awoke till late in the morning. Thinking of the plan talked yesterday night, he intended to write several recommendation letters given to Rain-village so that he would have the opportunity to look for some officials to get a shelter. Therefore, he required a servant to invite Rain-village, but what the servant brought back is a monk's reply that Mr.Jia has already left at around 4 A.M. and wanted to convey the message to Mr.Zhen that scholars don't care about whether the date is the ecliptic or not and what they matter most is the knowledge itself. That's the reason why Rain-village left without the farewell. After Hide-the-truth hearing that, he agreed with Rain-village and let him go.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 08:03, 8 June 2021 (UTC)

=陈柯汝=
真是闲处光阴易过，倏忽又是元宵佳节。士隐令家人霍启抱了英莲去看
社火花灯，半夜中，霍启因要小解，便将英莲放在一家门槛上坐着，待他小解完
了来抱时，那有英莲的踪影？急得霍启直寻了半夜，至天明不见，那霍启也不敢
回来见主人，便逃往他乡去了。

那士隐夫妇见女儿一夜不归，便知有些不好，再使几人去找寻，回来皆云
影响全无。大妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎
不顾性命。看看一月，士隐已先得病，夫人封氏也因思女构疾，日日请医问卦。

不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸，
此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条
街烧得如“火焰山”一般。彼时虽有军民来救，那火已成了势了，如何救得下，
直烧了一夜方息，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾
场了，只有他夫妇并几个家人的性命不曾伤了，急得士隐惟跌足长叹而已。与
妻子商议且到田庄上去住，偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又
难以安身，只得将田地都折变了，携了妻子与两个丫環，投他岳丈家去。
Time flied quickly when you past your time idly, and Lantern Festival was at the corner. Chen Shiyin ordered servant Huoqi to take his daughter, Yinlian to watch fireworks lamp. At midnight, Huoqi went for a restroom and put Yinlian in a threshold. However, when he came back, Yinlian disappeared. Huoqi sought for her for a whole night and till in the next morning, he didn’t find her. He was too scared to see his master and escaped.

Not seeing their daughter for a whole night, Shiyin couple were worried. They ordered some people to find Yinlian; but fiound nothing. They had only one daughter. Once they lose her, the inner world of them would collapse . And they cried day and night, regardless of their health. One month later, Shiyin got ill, and then his wife lady Feng was ill because over-missing. She turned for doctors and divination everyday at that time.

On March 15th, offerings to god were fired in Hulu Temple. However, the pot with oil caught fire due to the carelessness of a monk, and the flames spread to the windows made of paper. Unfortunately, bamboo fences and wooden walls are used widely in this area. It may be their destiny. Consequently, one by one, the whole street was burning like a flaming mountain. At that time though soldiers came to rescue, the fire had already overwhelmed the whole street, and soldiers could not save the fire. It fired a whole night before extinguished and ruined many houses. Unfortunately, the house of Chen was nearby. Though he and his wife and several servants survived from the catastrophe, the rest house are burnt to rubble. What a painful experience to Shiyin, and he sighed and stamped in anger. He and his family had to find another place to live in, He discussed with his wife about moving to a farm owned by them, but these year floods and drought prevailed this area; thieves and brigands were everywhere. Therefore they could not stay there and had to sell their house there for some money. With no better choice, He and his wife and two servants had to live in the house of his father-in-law.

Time passed quickly when there was nothing to be worried about, and Lantern Festival arrived again in the twinkling of an eye. Shi-yin asked his servant Huo-qi to take his daughter Yin-lian out to admire the fireworks and ornamental lanterns. At midnight, Huoqi went to the restroom and let Yin-lian sit on a threshold. However, when he came back, there was no where to find Yin-lian. Huoqi had sought for her for a whole night and till the morning was coming, he failed to find her. He was too scared to see his master and escaped.

Not seeing their daughter for a whole night, Shi-yin couple were worried and knew there was something wrong. They ordered some people to find Yinlian; but nothing was found.Since they had only one daughter, they would be despaired if they had lost their daughter. So, they cried day and night, regardless of their health. After a month, Shiyin got ill, and then his wife Mrs. Feng was ill because of too much worriness. She turned to the doctor and divination everyday at that time.

On March 15th, offerings to god were fired in Hulu Temple. However, the oil pot caught fire due to the carelessness of a monk, and the fire spread to the windows made of paper. Unfortunately, bamboo fences and wooden walls were used widely in this area. It may be their destiny. Consequently, one by one, the whole street was burning which was similar to a firing mountain. At that time though soldiers came to rescue, the fire had already overwhelmed the whole street, so soldiers could not save the fire. It had been firing for a whole night which resulted in the destroyment of many houses. Unfortunately, the house of Chen was nearby. Though he and his wife and several servants survived from the catastrophe, the rest house are burnt to rubble. What a painful experience to Shiyin, and he sighed and stamped in anger. He and his family had to find another place to live in, He discussed with his wife about moving to a farm owned by them, but these year floods and drought prevailed this area; thieves and brigands were everywhere. Therefore they could not stay there and had to sell their house there for some money. With no better choice, He and his wife and two servants visited his father-in-law, wanting to get some help.
--[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])

Time flied quickly when you past your time idly, and Lantern Festival was at the corner. Hidden Truth ordered servant Disaster Begin to take his daughter, Wiselotus Pottery Maker to watch fireworks lamp. At midnight, Disaster Begin went for a restroom and put Wiselotus Pottery Maker in a threshold. However, when he came back, Wiselotus Pottery Maker disappeared. Disaster Begin sought for her for a whole night and till in the next morning, he didn’t find her. He was too scared to see his master and escaped.

Not seeing their daughter for a whole night, Hidden Truth couple were worried. They ordered some people to find Wiselotus Pottery Maker; but found nothing. They had only one daughter. Once they lose her, the inner world of them would collapse . And they cried day and night, regardless of their health. One month later, Hidden Truth got ill, and then his wife Madame Phoenix was ill because over-missing. She turned for doctors and divination everyday at that time.

On March 15th, offerings to god were fired in Gourd Temple. However, the pot with oil caught fire due to the carelessness of a monk, and the flames spread to the windows made of paper. Unfortunately, bamboo fences and wooden walls are used widely in this area. It may be their destiny. Consequently, one by one, the whole street was burning like a flaming mountain. At that time though soldiers came to rescue, the fire had already overwhelmed the whole street, and soldiers could not save the fire. It fired a whole night before extinguished and ruined many houses. Unfortunately, the house of Chen was nearby. Though he and his wife and several servants survived from the catastrophe, the rest house are burnt to rubble. What a painful experience to Hidden Truth, and he sighed and stamped in anger. He and his family had to find another place to live in, He discussed with his wife about moving to a farm owned by them, but these year floods and drought prevailed this area; thieves and brigands were everywhere. Therefore they could not stay there and had to sell their house there for some money. With no better choice, He and his wife and two servants had to live in the house of his father-in-law.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 09:18, 4 June 2021 (UTC)

=易明霞=
他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实，今见女婿这
等狼狈而来，心中便有些不乐，幸而士隐还有折变田产的银子在身边，拿出来托
他随便置买些房地，以为后日衣食之计；那封肃便半用半赚的，略与他些薄田破
屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃
见面时，便说些现成话，且人前人后，又怨他不善过活，只一味好吃懒做。士隐
知投人不著，心中未免悔恨，再兼上年惊唬，急忿怨痛已伤，暮年之人，贫病交
攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐扎挣到街前散散心时，忽
见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：

世人都晓神仙好，惟有功名忘不了！古今将相在何方？荒冢一堆草没了。

世人都晓神仙好，只有金银忘不了！终朝只恨聚无多，及到多时眼闭了。

世人都晓神仙好，只有姣妻忘不了！君生日日说恩情，君死又随人去了。

世人都晓神仙好，只有儿孙忘不了！痴心父母古来多，孝顺子孙谁见了？

士隐听了，便迎上来道：“你满口说些甚么？只听见些‘好了’‘好了’。”那道人
笑道：“你若果听见‘好了’二字，还算你明白。可知世上万般，好便是了，了便
是好。若不了，便不好；若要好，须是了。我这歌儿便名《好了歌》。”士隐本是
有夙慧的，一闻此言，心中早已彻悟，因笑道：“且住！待我将你这《好了歌》注
解出来何如？”道人笑道：“你就请解。”士隐乃说道：
Shi-yin (Mr. Mystery)’s father in law was Feng-su, who came from Ru Zhou in Guan Da county. Though he worked as a farmer, he owned a comfortable life. Hence, he felt a little dissatisfied with such a poor appearance of his son-in-law and reluctant to offer help, when Shi-yin came to seek for help. Fortunately, Shi-yin brought the money gained from the sold-off fields with him. So, Shi-yin asked his father-in-law to buy some estates with the money, intending to make a life here in the future. However, Feng-su cheated him by giving him a few poor houses and barren fields, and took lots of the money on his own. Sine Shi-yin was a scholar, he was not good at farming, he became poorer after a few year’s hard living. Even worse, whenever he met Feng-su, he was accused by Feng-su face-to-face. What’s more, Feng Su kept grumbling to others about his pleasure-seeking and poor farming. Shi-yin knew he threw himself into the lap of a bad man. So, he was extremely regretful and resentful. Moreover, he was horrified by the terrible incidents happened in the last year, and got some phycological problems. As a result, he, an old man with poorness and illness, gradually appeared to be dying.
While he was hobbling with a crutch on the street to have a relax, he heard a lame Taoist who was dirty and seemed to be neurotic with ramie shoes and shabby clothes reading several sentences:

Men all know that salvation should be won,

but with their ambition, they won’t have done, have done.

Where are the famous ones of days gone by?

In grassy graves they lie now, everyone.

Men all know that salvation should be won,

but with their fortunes, they won’t have done, have done.

Each day they grumble they’ve not gained enough,

but when they’re enough, it’s goodnight, everyone.

Men all know that salvation should be won,

But with their beloved wives, they won’t have done, have done.

The darlings are said every day,

but once you are dead, they run to another one.

Men all know that salvation should be won,

But with their children, they won’t have done, have done.

Yet parents of no lack were easily found,

But of grateful children? I never saw a one.

Hearing those sentences, Shi-yin approached the Taoist and questioned: “what do you mean by saying all these things? All I can make out is lots of ‘won’ or ‘done’.” The Taoist smiled: “If you can understand ‘won’ and ‘done’, you may be said to be open-minded; for thousands of affairs of the world, what is won is done, and what is done is to won; for whoever has not yet done, he has not yet won; for whoever to won, he needs to have done firstly. I shall call the song the ‘Won-Done Song’.” Shi-yin was intelligent and teachable. He was immediately enlightened on hearing the Taoist’s words. Thus, he replied with a smile: “Please! Wait for a second! Would you please allow me to annotate your ‘Won-Done Song’?” The Taoist answered: “Yes, Please.”

1."father in law"→"father-in-law" Shi-yin→Shiyin Feng-su→Feng Su
2.Even worse, whenever he met Feng-su, he was accused by Feng-su face-to-face. face to face→ in public
3.a lame Taoist → an eccentric lame Taoist
--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 04:52, 10 March 2021 (UTC)

Hidden Truth (Mr. Mystery)’s father in law was Quiet Feng, who came from Ru Zhou in Guan Da county. Though he worked as a farmer, he owned a comfortable life. Hence, he felt a little dissatisfied with such a poor appearance of his son-in-law and reluctant to offer help, when Hidden Truth came to seek for help. Fortunately, Hidden Truth brought the money gained from the sold-off fields with him. So, Hidden Truth asked his father-in-law to buy some estates with the money, intending to make a life here in the future. However, Quiet Feng cheated him by giving him a few poor houses and barren fields, and took lots of the money on his own. Sine Hidden Truth was a scholar, he was not good at farming, he became poorer after a few year’s hard living. Even worse, whenever he met Quiet Feng, he was accused by Quiet Feng face-to-face. What’s more, Feng Su kept grumbling to others about his pleasure-seeking and poor farming. Hidden Truth knew he threw himself into the lap of a bad man. So, he was extremely regretful and resentful. Moreover, he was horrified by the terrible incidents happened in the last year, and got some phycological problems. As a result, he, an old man with poorness and illness, gradually appeared to be dying. While he was hobbling with a crutch on the street to have a relax, he heard a lame Taoist who was dirty and seemed to be neurotic with ramie shoes and shabby clothes reading several sentences:
Men all know that salvation should be won,
but with their ambition, they won’t have done, have done.
Where are the famous ones of days gone by?
In grassy graves they lie now, everyone.
Men all know that salvation should be won,
but with their fortunes, they won’t have done, have done.
Each day they grumble they’ve not gained enough,
but when they’re enough, it’s goodnight, everyone.
Men all know that salvation should be won,
But with their beloved wives, they won’t have done, have done.
The darlings are said every day,
but once you are dead, they run to another one.
Men all know that salvation should be won,
But with their children, they won’t have done, have done.
Yet parents of no lack were easily found,
But of grateful children? I never saw a one.
Hearing those sentences, Hidden Truth approached the Taoist and questioned: “what do you mean by saying all these things? All I can make out is lots of ‘won’ or ‘done’.” The Taoist smiled: “If you can understand ‘won’ and ‘done’, you may be said to be open-minded; for thousands of affairs of the world, what is won is done, and what is done is to won; for whoever has not yet done, he has not yet won; for whoever to won, he needs to have done firstly. I shall call the song the ‘Won-Done Song’.” Hidden Truth was intelligent and teachable. He was immediately enlightened on hearing the Taoist’s words. Thus, he replied with a smile: “Please! Wait for a second! Would you please allow me to annotate your ‘Won-Done Song’?” The Taoist answered: “Yes, Please.”
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])

=邓丹=
“陋室空堂，当年笏满床。衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿
纱今又在蓬窗上。说甚么脂正浓、粉正香，如何两鬓又成霜？昨日黄土陇
头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹
他人命不长，那知自己归来丧？训有方，保不定日后作强粱。择膏粱，谁承
望流落在烟花巷！因嫌纱帽小，致使锁枷扛。昨怜破袄寒，今嫌紫蟒长。
乱烘烘你方唱罢我登场，反认他乡是故乡。甚荒唐，到头来都是为他人作
嫁衣裳。”

那疯跛道人听了，拍掌大笑道：“解得切！解得切！”士隐便说一声“走罢。”，将道
人肩上的搭裢抢了过来背上，竟不回家，同了疯道人飘飘而去。

当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来，
只得与父亲商议，遣人各处访寻。那讨音信？无奈何，只得依靠着他父母度日；
幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。
那封肃虽然每日抱怨，也无可奈何了。

Shabby houses and empty halls, where were the mansion with sumptuous beds. Dead weeds and withered trees, where men have once danced and sung. Carved beams are laden with cobweb while green silk lies by the window again. Formerly rich of rouge and powder, but now grey at the temples. Yesterday, white bones were buried in yellow clay. Nowadays, an immoral meeting appears behind the doors. With riches taking wings,one is reduced to beggars, and slandered by others. Still lamenting others’imminent death, only to find oneself end up in the same place. No matter what pains you school your sons, who knows if he will grow up to be a bandit?/ Well educated, he may come down to be a bandit. Fine married,she may fall low to be a prostitute. Discontent of the government position results in shackled necks. Men in ragged cotton-packed jacket ascend to the one in official’s robs overnight. Life is a play----characters emerge capriciously one after another. Some struggle, some not. But they all get nothing in the end. The eccentric,lame Taoist clapped his hand. He laughed,"You've hit the nail on the head." "Let’s go," Shiyin replied. He took the sack from Taoist and put it on his own shoulder. And then, he strode away leisurely with the Taoist without even telling his family. His disappearance caused a sensation among neighbors and was then perceived as an anecdote. Upon hearing it, Dame Feng,Shiyin's wife, wept uncontrollably. The only thing she could do was to consult with his father, and to dispatch servants to ask around for his news. No news was however received of him. She had no choice but to attach herself to his parents. Fortunately, there were still two slave girls waiting around. Dame Feng and the two did some sewing to help, day and night. Feng Su had no alternative but to grumble everyday as a relief.

Shabby houses and empty halls, where were the mansion with sumptuous beds. Dead weeds and withered trees, where men have once danced and sung. Carved beams are laden with cobweb while green silk lies by the window again. Formerly rich of rouge and powder, but now grey at the temples. Yesterday, white bones were buried in yellow clay. Nowadays, an immoral meeting appears behind the doors. With riches taking wings,one is reduced to beggars, and slandered by others. Still lamenting others’imminent death, only to find oneself end up in the same place. No matter what pains you school your sons, who knows if he will grow up to be a bandit?/ Well educated, he may come down to be a bandit. Fine married,she may fall low to be a prostitute. Discontent of the government position results in shackled necks. Men in ragged cotton-packed jacket ascend to the one in official’s robs overnight. Life is a play----characters emerge capriciously one after another. Some struggle, some not. But they all get nothing in the end. The eccentric,lame Taoist clapped his hand. He laughed,"You've hit the nail on the head." "Let’s go," Hide-the-facts replied. He took the sack from Taoist and put it on his own shoulder. And then, he strode away leisurely with the Taoist without even telling his family. His disappearance caused a sensation among neighbors and was then perceived as an anecdote. Upon hearing it, Dame Feng, Hide-the-facts' wife, wept uncontrollably. The only thing she could do was to consult with his father, and to dispatch servants to ask around for his news. No news was however received of him. She had no choice but to attach herself to his parents. Fortunately, there were still two slave girls waiting around. Dame Feng and the two did some sewing to help, day and night. Feng Su had no alternative but to grumble everyday as a relief.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 15:38, 27 April 2021 (UTC)

Mean huts and empty halls,
Where emblems of nobility once hung;
Dead weeds and withered trees,
Where men have once danced and sung;
Carved beams are swathed in cobwebs，
But briar-choked casements screened again with gauze;
While yet the rouge is fresh, the powder fragrant,
The hair at the temples turns hoary for what cause?
Yesterday, yellow clay received white bones,
Today, red lanterns light the love-birds’ nest;
While men with gold and silver by the chest,
Turn beggars, scorned by all the dispossessed;

A life cut short one moment makes one sight,
Who would have known it’s her turn next to die?

No matter with what pains he schools his sons,
Who knows if they will turn to brigandry?

A pampered girl brought up in luxury,
May slip into a quarter of ill fame;

Resentment at a low official rank,
May lead to fetters and a felon’s shame;

In ragged coat one shivered yesterday,
Today a purple robe he frowns upon;

All’s strife and tumult on the stage,
As one man ends his song the next comes on;
To take strange parts as home,

Is folly past compare;
And all our labour in the end,
Is making clothes for someone else to wear.”--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:34, 9 June 2021 (UTC)Wang Zihan王子涵

=王子涵=
这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声，众人都说：“新太
爷到任了。”丫鬟隐在门内看时，只见军牢快手，一对一对过去，俄而大轿内抬着
一个乌帽猩袍的官府过去。丫鬟倒发个怔，自思：“这官好面善，倒像在那里见
过的。”于是进入房中，也就丢过，不在心上。至晚闻正待歇息之时，忽听一片声
打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话。”封肃听了，唬得目瞪
口呆。不知有何祸事，且听下回分解。

One day the elder maid of the Zhen family was buying some thread at the gate when she suddenly heard shouts in the street, and people said, “The new County Magistrate had arrived to take up his office.” The servant girl hidden in the door saw policemen going one by one, and soon an official in black cat and red coat was carried in a palanquin. The servant girl thought to herself, “This official looks nice whom I seem to have seen somewhere.” Then she entered the house and did not care about it anymore. At night, however, while she was going to bed, she suddenly heard someone flapping the door. A band of men boisterously cried out: “The County Magistrate appointed us to do an enquiry.” Hearing this, Feng Su was stunned with fright. Dear readers, if you want to know what happens, please wait for the next time.

◎第三回托内兄如海荐西宾接外孙贾母惜孤女
却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系
此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，
忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村，雨村欢喜，忙
忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，
转向都中去央烦贾政。

Chapter 3 Lin Ruhai recommends a private tutor to his brother-in-law Old Lady Jia extends a compassionate welcome to the motherless child
When hurrily turning around, Yucun was surprised to see Zhang Rugui, a form colleague who had also been dismissed from his post for the same reason as himself. Zhang Rugui was a native of this place and has returned home since his dismissal. Now hearing the information from the capital that a request for the reinstatement of former officials had been sanctioned, he tried to pull strings to find some opening. He congratulated Yucun the instant he saw him. As soon as bowing to each other, Zhang Rugui told Yucun the good news, and after futher hurried conversation, they went their separate ways. Leng Zixing, who had heard the news, at once proposed Yucun to ask Lin Ruhai to turn to Jia Zheng in the capital.

1. One day the elder maid → One day, the elder maid

2. an official in black cat → an official in a black hat

3. a form colleague → a former colleague

4. and after futher hurried → and after further hurried

5. Lin Ruhai recommends a private tutor to his brother-in-law → Lin Ruhai recommends his daughter's private tutor to his brother-in-law

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:18, 10 March 2021 (UTC)

[[File:Example.jpg]]
=彭佳钰=
雨村领其意而别。回至馆中，忙寻邸报看真确了。次日，面谋之如海。如
海道：“天缘凑巧，因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女船
只来接，因小女未曾大痊，故尚未行，此刻正思送女进京。因向蒙教训之恩，未
经酬报，遇此机会，岂有不尽心图报之理，弟已预筹之，修下荐书一封，托内兄务
为周全，方可稍尽弟之鄙诚；即有所费，弟于内兄信中注明，不劳吾兄多虑。”雨
村一面打恭，谢不释口，一面又问：“不知令亲大人现居何职？只怕晚生草率，不
敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等
将军之职，名赦，字思侯；二内兄名政，字存周，现任工部员外郎，其为人谦恭厚
道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托。否则不但有污尊兄清操，
即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。如海
又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯
听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。

那女学生原不忍弃父而去，无奈他外祖母必欲其往，且兼如海说：“汝父年
已半百，再无续室之意，且汝多病，年又极小，上无亲母教养，下无姊妹扶持，今
去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜
别，随了奶娘及荣府中几个老妇登舟而去。雨村另有一只船，带两个小童，依附
黛玉而行。

Jia Yucun gets his meaning and bids him farewell. When Yucun goes back to the dwelling, he immediately seeks out the official newspaper to confirm the message. The next day, there is the reception of Lin Ruhai. Ruhai says, “Everything just goes as fate tells. My mother-in-law who lives in the capital is worrying about my daughter’s dilemma of nowhere to belong because of my humble wife’s passing away, and has dispatched ships with servants to take her. But my daughter didn’t set off for not making a complete recovery. I’m thinking about sending her to the capital precisely. We’ve always appreciated for your teaching, though we haven’t repaid you yet. There’s no reason why I should not do my best to serve you with such a fantastic opportunity, so I have made preparations previously by writing a letter to my brother-in-law to make sure everything in order as a token of my good faith. Even if there’s any cost, I’ve written it clearly in advance. You don’t need to worry about it at all.” Yucun makes a bow with hands folded in front with keeping expressing his thanks, while he asks, “I wonder what their official positions are? I'm afraid I've been too reckless to pay a visit.” Ruhai smiles, “If we talk about my relatives, they are grandchildren of the Duke of Glory, and it seems like that you have the same pedigree: eldest brother-in-law named Hao inherited the official position of General First Class, with the secondary personal named Sihou; second eldest brother-in-law named Zheng assumes vice director of the Ministry of Works in feudal China, with the secondary personal named Cunzhou. The eldest brother-in-law is a kind and modest person with a demeanor just like his grandfather, and he's not that kind of extravagant and dissipated person at all, so I wrote to entrust the task to him. Otherwise, your precious good character will be stigmatized while I will treat him with disdain.” Yucun finally believes what Leng Zixing said yesterday after he heard of Ruhai’s words, and then he expresses his thanks to Lin Ruhai again. Ruhai adds, “My daughter’s departure to the capital city is on the 2nd of next month, and you can just go along with her. Won’t that be convenient?” Yucun listens to him respectfully, and he is very pleased with himself. Ruhai thereupon gives an account of the business of sending gifts and giving a farewell dinner, and Yucun responds.

The schoolgirl couldn’t bear to leave her father and let him stay here in the first place, however her grandmother insists that she must go to where she lives, and Ruhai says, “Your father is over half a century old, and he is unwilling to remarry. You are so sickly and too young without your own mother who brings you up and sisters who support you, and here is the chance that you can go to live with your grandmother and female cousins who are reliable. It solves my internal worries exactly, so why not go?” Lin Daiyu doesn’t say farewell until she listens to such words, but she is still crying when she goes aboard with her wet nurse and a few old women come from the Mansion of the Duke of Glory to leave. Jia Youcun accompanies Daiyu on another ship with two houseboys.

Rainvillage Merchant gets his meaning and bids him farewell. When Rainvillage Merchant goes back to the dwelling, he immediately seeks out the official newspaper to confirm the message. The next day, there is the reception of Lin Ruhai. Ruhai says, “Everything just goes as fate tells. My mother-in-law who lives in the capital is worrying about my daughter’s dilemma of nowhere to belong because of my humble wife’s passing away, and has dispatched ships with servants to take her. But my daughter didn’t set off for not making a complete recovery. I’m thinking about sending her to the capital precisely. We’ve always appreciated for your teaching, though we haven’t repaid you yet. There’s no reason why I should not do my best to serve you with such a fantastic opportunity, so I have made preparations previously by writing a letter to my brother-in-law to make sure everything in order as a token of my good faith. Even if there’s any cost, I’ve written it clearly in advance. You don’t need to worry about it at all.” Rainvillage Merchant makes a bow with hands folded in front with keeping expressing his thanks, while he asks, “I wonder what their official positions are? I'm afraid I've been too reckless to pay a visit.” Ruhai smiles, “If we talk about my relatives, they are grandchildren of the Duke of Glory, and it seems like that you have the same pedigree: eldest brother-in-law named Hao inherited the official position of General First Class, with the secondary personal named Sihou; second eldest brother-in-law named Zheng assumes vice director of the Ministry of Works in feudal China, with the secondary personal named Cunzhou. The eldest brother-in-law is a kind and modest person with a demeanor just like his grandfather, and he's not that kind of extravagant and dissipated person at all, so I wrote to entrust the task to him. Otherwise, your precious good character will be stigmatized while I will treat him with disdain.” Rainvillage Merchant finally believes what Leng Zixing said yesterday after he heard of Ruhai’s words, and then he expresses his thanks to Lin Ruhai again. Ruhai adds, “My daughter’s departure to the capital city is on the 2nd of next month, and you can just go along with her. Won’t that be convenient?” Rainvillage Merchant listens to him respectfully, and he is very pleased with himself. Ruhai thereupon gives an account of the business of sending gifts and giving a farewell dinner, and Rainvillage Merchant responds.
The schoolgirl couldn’t bear to leave her father and let him stay here in the first place, however her grandmother insists that she must go to where she lives, and Ruhai says, “Your father is over half a century old, and he is unwilling to remarry. You are so sickly and too young without your own mother who brings you up and sisters who support you, and here is the chance that you can go to live with your grandmother and female cousins who are reliable. It solves my internal worries exactly, so why not go?” Lin Mascara Jade doesn’t say farewell until she listens to such words, but she is still crying when she goes aboard with her wet nurse and a few old women come from the Mansion of the Duke of Glory to leave. Jia Youcun accompanies Mascara Jade on another ship with two houseboys.

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:35, 28 April 2021 (UTC)

The young girl couldn’t bear to leave her father at the first time, however her grandmother insists that she must live in her home, and Ruhai says, “I am over half a century old, and I have no mean to remarry. You are sickly ,let alone too young without your own mother who brings you up and sisters who support you, and here is the chance that you can go to live with your grandmother and female cousins who are reliable.,which solves my internal worries exactly, so why not just go?” Lin Daiyu doesn’t say farewell until she listens to so many words, but she is still crying when she goes aboard with her wet nurse and a few old maids coming from the Mansion of the Duke of Glory to leave. Yucun accompanies Daiyu on another ship with two little maids.------[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 13:48, 22 March 2021 (UTC)Ding Zhongxia(talk)

Rainvillage Merchant gets his meaning and bids him farewell. When Rainvillage goes back to the dwelling, he immediately seeks out the official newspaper to confirm the message. The next day, there is the reception of Sea Forest. Sea says, “Everything just goes as fate tells. My mother-in-law who lives in the capital is worrying about my daughter’s dilemma of nowhere to belong because of my humble wife’s passing away, and has dispatched ships with servants to take her. But my daughter didn’t set off for not making a complete recovery. I’m thinking about sending her to the capital precisely. We’ve always appreciated for your teaching, though we haven’t repaid you yet. There’s no reason why I should not do my best to serve you with such a fantastic opportunity, so I have made preparations previously by writing a letter to my brother-in-law to make sure everything in order as a token of my good faith. Even if there’s any cost, I’ve written it clearly in advance. You don’t need to worry about it at all.” Rainvillage makes a bow with hands folded in front with keeping expressing his thanks, while he asks, “I wonder what their official positions are? I'm afraid I've been too reckless to pay a visit.” Sea smiles, “If we talk about my relatives, they are grandchildren of the Duke of Glory, and it seems like that you have the same pedigree: eldest brother-in-law named Hao inherited the official position of General First Class, with the secondary personal named Sihou; second eldest brother-in-law named Zheng assumes vice director of the Ministry of Works in feudal China, with the secondary personal named Cunzhou. The eldest brother-in-law is a kind and modest person with a demeanor just like his grandfather, and he's not that kind of extravagant and dissipated person at all, so I wrote to entrust the task to him. Otherwise, your precious good character will be stigmatized while I will treat him with disdain.” Rainvillage finally believes what Leng Zixing said yesterday after he heard of Sea’s words, and then he expresses his thanks to Sea Forest again. Sea adds, “My daughter’s departure to the capital city is on the 2nd of next month, and you can just go along with her. Won’t that be convenient?” Rainvillage listens to him respectfully, and he is very pleased with himself. Sea thereupon gives an account of the business of sending gifts and giving a farewell dinner, and Rainvillage responds.

The schoolgirl couldn’t bear to leave her father and let him stay here in the first place, however her grandmother insists that she must go to where she lives, and Sea says, “Your father is over half a century old, and he is unwilling to remarry. You are so sickly and too young without your own mother who brings you up and sisters who support you, and here is the chance that you can go to live with your grandmother and female cousins who are reliable. It solves my internal worries exactly, so why not go?” Mascara Jade Forest doesn’t say farewell until she listens to such words, but she is still crying when she goes aboard with her wet nurse and a few old women come from the Mansion of the Duke of Glory to leave. Jia Youcun accompanies Mascara Jade on another ship with two houseboys.

--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:09, 12 June 2021 (UTC)

=丁仲夏=
一日到了京都，雨村先整了衣冠，带了小童，拿了“宗侄”的名帖，至荣府门
上投了。彼时贾政已看了妹丈之书，即忙请入相会，见雨村像貌魁伟，言谈不
俗，且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致
意，因此优待雨村，更又不同，便极力帮助，题奏之日，谋了一个复职，不上二月，
便选了金陵应天府，辞了贾政，择日到任去了，不在话下。

且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这
黛玉尝听得母亲说，他外祖母家与别家不同，他近日所见的这几个三等的仆妇，
穿吃用度，已是不凡，何况今至其家，多要步步留心，时时在意，不要多说一句
话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，
其街市之繁华，人烟之阜盛，自与别处不同。又行了半日，忽见街北蹲着两个大
石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东西两
角门有人出入；正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想
道：这是外祖的长房了。”又往西不远，照样也是三间大门，方是“荣国府”，却
不进正门，只由西角门而进。轿子抬着走了箭之远，将转弯时，便歇了轿，后
面的婆子也都下来了，另换了四个衣帽周全的十七八岁的小厮上来抬着轿子，
众婆子步下跟随，至一垂花门前落下，众小厮又退了出去，众婆子上前打起轿
帘，扶黛玉下了轿。

One day Yucun arrives in Jing capital, he tidied his attires, brought some little servants, and took the visiting card of his nephew. He hands in it when arriving at nephew’s home. Jia Zheng invites him to enter and meet as soon as he sees the card. Having seen the masculine appearance and decent behavior of Yucun，Jia Zheng gives preferential treat to Yucun because he likes scholars most and is used to respecting and giving aid to others,which inherits from his ancestors,let alone Yucun has the visiting card of his brother-in-law.With a diffrent attitude to Yucun,Jiazheng tries his best to help Yucun attain a position in the day that Jia Zheng presents suggestions to the throne.Before Feburary, Yucun is appointed to Yingtian mansion and bid farewell to Jia Zheng.He chooses a day to fill the position.That is the end.

When Daiyu gives up her boat and heads straight to land, sedan in Ronguo mansion is sent to carry her baggages.Daiyu have heard from her mother that the home of her grandmother is different from others.Several inferior maids she has seen recently have uncommon expenditure,and she should pay more attention to everything in everywhere as she arrives at the home.Meanwhile,Don't talk too much or step too further to prevent herself from other's tease.Since she steps into the sedan ,enters the city and has a look through the screen window,she is amazed at the prosperity of the city and the big wave of the crowd, which are different from other places.After another half-day moving,two large stone lions and three beast head gates come into sight.There are a dozen of people dressed in luxury.The main gate is shutted.Only the east and west door are available to people.There is a tablet written with"Chi Zao Ning Guo Mansion."Daiyu think that this is the eldest branch of her grandmother. Not far from the west,three large doors the same as before are "Rong Guo Mansion."But they enter the west door instead of the main gate.Sedan is carried a few meters until it is going to make a turn.Maids after the sedan go down and are replaced by a dozen of servants dressed tidily.They lift the sedan and maids follow it until they arrive at a floral-pendant gates.The servants leave.The maids step forward to pull the curtain back,helping Daiyu step down the sedan chair.

1.When Daiyu gives up her boat and heads straight to land, sedan in Ronguo mansion is sent to carry her baggages. → When Daiyu disembarked, a sedan-chair from the Rong Mansion and carts for her luggage were waiting in readiness.
2.Daiyu have heard from her mother that the home of her grandmother is different from others. → Daiyu had heard it from her mom that, her grandmother’s house was very different from others’.
3.Several inferior maids she has seen recently have uncommon expenditure,and she should pay more attention to everything in everywhere as she arrives at the home.Meanwhile,Don't talk too much or step too further to prevent herself from other's tease. → Recently she had met several low-class maids who were dressed and dining surprisingly well. Now she was going to stay there, so there was extremely important to be wary of her words and behaviors, so as not to be laughed at.
4.Since she steps into the sedan ,enters the city and has a look through the screen window,she is amazed at the prosperity of the city and the big wave of the crowd, which are different from other places. → After she entered the city in the sedan, she had a glance at it through the screen window and was amazed at the prosperity of the city and the big wave of the crowd, which were really different from other places.
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 18:17, 9 March 2021 (UTC)

He hands in it when arriving at nephew’s home. Jia Zheng invites him to enter and meet as soon as he sees the card. Having seen the masculine appearance and decent behavior of Yucun，Jia Zheng gives preferential treat to Yucun because he likes scholars most and is used to respecting and giving aid to others,which inherits from his ancestors,let alone Yucun has the visiting card of his brother-in-law.With a diffrent attitude to Yucun,Jiazheng tries his best to help Yucun attain a position in the day that Jia Zheng presents suggestions to the throne.Before Feburary, Yucun is appointed to Yingtian mansion and bid farewell to Jia Zheng.He chooses a day to fill the position.That is the end.--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:35, 2 June 2021 (UTC)Ding Zhongxia

=苏潇=
林黛玉扶着婆子手进了垂花门，两边是超手游廊，正中是穿堂，当地放着
一个紫檀架子大理石屏风。转过屏风，小小三间厅房，厅后便是正房大院。正
面五间上房，旨是雕梁画栋，两边穿山游廊厢房，挂着各色鹦鹉画眉等雀鸟。台
阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来，说道：“刚才老太太
还念呢，可巧就来了。”于是三四人争着打帘子，一面听得人说：“林姑娘来了！”

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来，黛玉知是外祖
母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下
侍立之人，无不下泪，黛玉也哭个不休。众人慢慢解劝住了，黛玉方拜见了外祖
母。当下贾母一一指与黛玉：“这是你大舅母，这是二舅母，这是你先珠大哥的
媳妇珠大嫂。”黛玉一一拜见了。贾母又叫：“请姑娘们来。今日远客初来，可
以不必上学去。”众人答应了一声，便去了两个。

不一时，只见三个奶妈并五六个丫鬟拥着三位姑娘来了：第一个肌肤微
丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑
身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；第三个身量未足，形
容尚小。其钗环裙袄，三人皆是一样的妆束。黛玉忙起身迎上来见礼，互相厮
认；归了坐位，丫鬟送上茶来。不过叙些黛玉之母，如何得病，如何请医服药，如
何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼者独有你母，今
一旦先我而逝，不得见一面，教我怎不伤心！”说着携了黛玉的手又哭起来，家人
忙相劝慰，方略略止住。

Mascara Jade held the maid’s hand and walked through the floral-pendant gate, seeing the encircling corridors on either side of the gate, the hall in the middle, and a marble screen on a rosewood frame standing there. Round the screen, there were three small rooms and a big courtyard behind them. In front were five rooms with painted beams and carved pillars. On both sides were wing-rooms connected by mountain corridors, with many kinds of birds such as parrots and thrushes. Several servant girls dressed colorful sat on the steps. Seeing Mascara Jade coming, they all came up with smiles and said, “Lady Dowager asked just now when you would arrive. Now you are already here!” Then three or four of them struggled to draw the curtain and someone said, "Here Miss Lin comes!"

When Mascara Jade entered the room, she saw two people holding an old lady whose hair had turned grey like silver coming up. Mascara Jade knew it must be her grandmother and was held by her at once before she bowed down to her. Lady Dowager hugged Mascara Jade tightly, crying “My sweetheart! My poor child!” All the people standing by wept, and Mascara Jade also kept crying. After a while, the weeping gradually ceased, and Mascara Jade finally paid a formal visit to Lady Dowager. Then Lady Dowager introduced the relatives to Mascara Jade one by one: “This is your great aunt. This is your second aunt. This is your sister-in-law, the wife of your late elder brother Jia Zhu.” Mascara Jade bowed down to them one by one. Then Lady Dowager went on saying, “Invite our girls here. Mascara Jade comes here for the first time, so they don’t need to go to school today.” The crowd responded and two of them went to convey the message.

In a few moments, three girls surrounded by three wet nurses and five or six servant girls arrived: The first girl has a proper figure with a white, smooth, and delicate skin, looking very gentle and friendly, not talkative. The second one has a tall and slender figure with narrow shoulders and a slim waist. Her oval face was decorated with beautiful eyes and eyebrows, leaving people a profound impression of high spirits. The third one is still young with an appearance of a child. All three wore the same makeup, the same of their hairpin, earring, dress, and coat. Mascara Jade hurried to greet them and introduced themselves to each other. After everyone returned to their seats, servant girls served tea. Then they began to talk about how Mascara Jade’s mother fell ill, sought doctors for medicine, and then died. Lady Dowager fell depressed again, saying to Mascara Jade “Among all my daughters, I only love your mom. How could I be not sad after she passed away before me and we didn’t even see each other before she left me!” Saying so, she held Mascara Jade’s hands and couldn’t help crying again. Other families hurried to comfort her so that she gradually stopped crying.
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 08:31, 9 March 2021 (UTC)

1、Several servant girls dressed colorful sat on the steps.→Several servant girls dressed gorgeously sat on the steps.

2、and Daiyu finally paid a formal visit to Lady Dowager.→so Daiyu could make a bow to Lady Dowager with two hands folded in front.

3、The first girl has a proper figure with white, smooth, and delicate skin, looking very gentle and friendly, not talkative.→The first girl was kind, quiet, and gentle, with a proper figure and white, and delicate skin.

4、Daiyu hurried to greet them and introduced themselves to each other.→Daiyu hurried to greet them and got to know each other.

5、How could I be not sad after she passed away before me and we didn’t even see each other before she left me!”→How could I not be sad when she suddenly passed away before me and we could not see each other anymore.”

--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 15:56, 9 March 2021 (UTC)

=王楚仪=
众人见黛玉年貌虽小，其举止言谈不俗，身体面庞虽弱不胜衣，却有一段
风流态度，便知他有不足之症，因问“常服何药？如何不治好了？”黛玉道：“我
自来如此，从会吃饭时便吃药，到如今了，经过多少名医，总未见效。那一年我
才三岁，记得来了一个癞头和尚，说要化我去出家，我父母固是不从。他又说：
‘既舍不得他，但只怕他的病一生也不能好的。若要好时，除非从此以后总不
许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯
癫癫说了这些不经之谈，也没人理他。如今还是吃人参养荣丸。”贾母道：“这
正好，我这里正配丸药呢，叫他们多配一料就是了。”

一语未休，只听后院中有笑语声，说：“我来迟了，不曾迎接远客！”黛玉思
忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”心下想时，只
见一群媳妇丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣
辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗，项上戴
着赤金盘螭缨络圈，身上穿着缕金百蝶穿花大红云缎窄裉袄，外罩五彩刻丝石
青银鼠褂，下着翡翠撒花洋绉裙；一双丹凤三角眼，两弯柳叶掉梢眉，身量苗条，
体格风骚，粉面含春威不露，丹唇未启笑先闻。

They found although Daiyu was young, the way she talked and behaved was not bad. She was too thin to bear the weight of the clothes but has her own special temperament. Judging from this, they knew she has Qi deficiency and asked her what medicine she was taking and why she could not cure it. Daiyu said: "I have been like this since I was born. I have been taking medicine since I learned to eat. Till now, although treated by lots of great physicians, I haven't been cured yet. At the age of three, I remembered there came a ragged monk who looked lunatic. He asked to make me a nun, but my parents rejected it strongly. Then He said:'If you hate to part with her, I am afraid her illness can't be cured forever. Unless she will never hear any weeping from now on and never meet with any relatives except for parents, then she can spend her life peacefully.' The monk made such an absurd statement like a lunatic, so no one cared about what he said. Now, I still just take the ginseng nourishing pills." Lady Dowager says:" Well, I have someone make pills for me and I will just ask them to make one kind more.

Before finishing the talk, they heard someone laughing in the backyard and saying: "Sorry, I'm late. I have not greeted the distant guest!" Daiyu thought to herself: "All the people here are dropping their voice, who is the person that so impolite?" At the moment, a group of maids was coming in from the back room，in the center of whom was a beauty. She dressed up differently from the other girls. She wore shining colored embroidery, like a fairy: on her head was a bun made of pearls and other treasures pierced with gold thread and a bead hairpin with five phoenixes hanging on. Around her neck was a red gold ring with a dragon wreathed. She wore a narrow red silver satin blouse embroidered with a hundred gold butterflies, a greenish-black coat embroidered with colorful decorative patterns, and an emerald wrinkled gauze dress. She had slanted eyes and willow-leaf eyebrows. Her body was slim and delicate. Her pink-and-white face looked as lovely as spring and the red lip looked smiling before opened.

①Pay attention to the consistency of tense.For example"She was too thin to bear the weight of the clothes but has her own special temperament", but has→but had
②“the way she talked and behaved was not bad”→the way she talked and behaved was not vulgar
③“a group of maids was coming in from the back room，in the center of whom was a beauty.She dressed up differently from the other girls.”→a group of ladies and maids were coming in from the back room, encircling a beauty who was dressed up differently from others.
④“Her pink-and-white face looked as lovely as spring and the red lip looked smiling before opened.”→Her pink-and-white was always full of smile,and the domineering was never revealed in appearance; before her scarlet lip opened, we could her laughter in advance.__[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]])

They found although Mascara Jade was young, the way she talked and behaved was not bad. She was too thin to bear the weight of the clothes but has her own special temperament. Judging from this, they knew she has Qi deficiency and asked her what medicine she was taking and why she could not cure it. Mascara Jade said: "I have been like this since I was born. I have been taking medicine since I learned to eat. Till now, although treated by lots of great physicians, I haven't been cured yet. At the age of three, I remembered there came a ragged monk who looked lunatic. He asked to make me a nun, but my parents rejected it strongly. Then He said:'If you hate to part with her, I am afraid her illness can't be cured forever. Unless she will never hear any weeping from now on and never meet with any relatives except for parents, then she can spend her life peacefully.' The monk made such an absurd statement like a lunatic, so no one cared about what he said. Now, I still just take the ginseng nourishing pills." Dowager Lady says:" Well, I have someone make pills for me and I will just ask them to make one kind more.

Before finishing the talk, they heard someone laughing in the backyard and saying: "Sorry, I'm late. I have not greeted the distant guest!" Mascara Jade thought to herself: "All the people here are dropping their voice, who is the person that so impolite?" At the moment, a group of maids was coming in from the back room，in the center of whom was a beauty. She dressed up differently from the other girls. She wore shining colored embroidery, like a fairy: on her head was a bun made of pearls and other treasures pierced with gold thread and a bead hairpin with five phoenixes hanging on. Around her neck was a red gold ring with a dragon wreathed. She wore a narrow red silver satin blouse embroidered with a hundred gold butterflies, a greenish-black coat embroidered with colorful decorative patterns, and an emerald wrinkled gauze dress. She had slanted eyes and willow-leaf eyebrows. Her body was slim and delicate. Her pink-and-white face looked as lovely as spring and the red lip looked smiling before opened.
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:36, 27 April 2021 (UTC)

=滕璧霞=
黛玉连忙起身接见，贾母笑道：“你不认得他，他是我们这里有名的一个泼
辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”黛玉正不知以何称呼，众
姊妹都忙告诉黛玉道：“这是琏嫂子。”黛王虽不曾识面，听见他母亲说过，大舅
贾赦之子贾琏，娶的就是二舅母王氏之内侄女；自幼假充男儿教养的，学名叫做
王熙凤。黛玉忙陪笑见礼，以“嫂”呼之。这熙凤携着黛玉的手，上下细细打量
了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人物，我今日才算
见了！况且这通身的气派，竟不像老祖宗的外孙女儿，竟是个嫡亲的孙女，怨不
得老祖宗天天口头心头一刻不忘。只可怜我这妹妹这样命苦，怎么姑妈偏就去
世了！”说着便用帕拭泪，贾母笑道：“我才好了，你倒来招我。你妹妹远路才来，
身子又弱，也才劝住了，快休再题前话。”这熙凤听了，忙转悲为喜道：“正是呢！
我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘记了老祖宗，该打，
该打！”又忙携黛玉之手问：“妹妹几岁了？可也上过学？现吃什么药？在这里
不要想家，要什么吃的、什么玩的，只管告诉我；丫头老婆们不好，也只管告诉
我。”一面又问婆子们：“林姑娘的行李东西可搬进来了？带了几个人来？你们
赶早打扫两间下房让他们去歇歇。”

Mascara Jade Forest stood up immediately to receive Grandma Merchant. "You did not know her. She was a well-known ferocious woman here, Nanjing's so-called "Pepper", and you just called her "Pepper King", Grandma Merchant said with a laugh. When Mascara Jade Forest had no idea about the address, other sisters quickly told her: "this was sister-in-law Lian." Although Mascara Jade Forest had never met her, she heard her mother say that Romance Merchant, the son of Nominal Merchant, married the niece of the second aunt, King’s family.Her formal name was Splendid Phoenix King, who pretended to be a man when she was young. Mascara Jade Forest hastened to smile as a courtesy and called her"Sao".Splendid Phoenix King held Mascara Jade Forest`s hands, looked her up and down carefully, and then sent her to Grandma Merchant to sit down. Splendid Phoenix King smiled and said: "there really was such a beauty in the world, and I only counted today. Moreover, the overall style was not like the granddaughter of the grandmother, but the genuine one. No wonder grandmother never forgot her both orally and in heart every moment. I only had pity for my sister's life, so why did my aunt pass away!"Phoenix King wiped tears with a handkerchief as she said it. Grandma Merchant said:" I had just got over myself, and now you were making me sad again. Your sister had just arrived from a long carriage ride. Besides, she was weak and was persuaded not to cry just now. You should not mention it anymore. Hearing what said, Splendid Phoenix King was hurried to turned sorrow into joy and said, "exactly!
On seeing my sister, I was so all over on her, happy and sorrowful, that I unexpectedly forgot grandmother.I indeed needed a slap, a slap!" Splendid Phoenix King quickly carried Mascara Jade Forest`s hands and asked:" How old were you, my sister? Had you ever been to school? What kind of medicine did you take? Don't miss home here. Just tell me what you want to eat or play; If young or middle-aged maids didn`t serve you well, you could also tell me." At the same time she asked the middle-aged maids: "had Miss Forest's luggage been brought in yet? How many people were there altogether? You must clean and prepare two guest rooms quickly to let them rest.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 09:18, 27 April 2021 (UTC)

①Daiyu stood up immediately to receive Dowager Jia. "You did not know him. He was a well-known ferocious woman here, Nanjing's so-called "Lazi", and you just called him "fenglazi", Dowager Jia said with a laugh.→Daiyu stood up immediately to greet Dowager Jia. "You don't know her. She is a well-known ferocious woman here. In Nanjing, she is called Lazi, and you just called him Fenglazi." Dowager Jia said with a laugh.
②When Daiyu had no idea about the address, other sisters quickly told her: "this was sister-in-law Lian."→When Daiyu didn't know how to address her, other sisters quickly told her: "This is your cousin Lian's wife."
③who pretended to be a man when she was young→who was raised as a man when she was young
④looked her up and down carefully and then sent her to Dowager Jia to sit down→carefully inspected her from head to foot and then led her to sit next to Dowager Jia
⑤No wonder grandmother never forgot her both orally and in heart every moment.→No wonder grandmother was always talking and thinking of you.
--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 15:14, 9 March 2021 (UTC)

=黄笑兰=
说话时，已摆了茶果上来，熙凤亲为捧茶捧果。又见二舅母问他：“月钱放
完了不曾？”熙凤道：“月钱也放完了。刚才带了人到后楼上找缎子，找了半日，
也没见昨日太太说的那样，想是太太记错了。”王夫人道：“有没有，什么要紧。”
因又说道：“该随手拿出两个来给你这妹妹裁衣裳的，等晚上想着再叫人去拿
罢。”熙凤道：“倒是我先料着了，知道妹妹两日到的，我已预备下了；等太太回
去过了目，好送来。”王夫人一笑，点头不语。

当下茶果已撤，贾母命两个老嬷嬷带了黛玉去见两个舅舅去。维时贾赦
之妻邢氏忙起身笑回道：“我带了外甥女过去，到底便宜些。”贾母笑道：“正是
呢，你也去罢，不必过来了。”那邢夫人答应了，遂带了黛玉与王夫人作辞，大家
送至穿堂。垂花门前早有众小厮拉过一辆翠幄清油车来，邢夫人携了黛玉坐
上，众婆娘们放下车帘，方命小厮们抬起，拉至宽处，方驾上驯骡，亦出了西角门
往东，过荣府正门，入一黑油大门内，至仪门前，方下车来。邢夫人挽了黛玉的
手进入院中，黛玉度其处必是荣府中之花园隔断过来的。进入三层仪门，果见
正房、厢庑、游廊、悉皆小巧别致、不似那边的轩峻壮丽；且院中随处之树木山石
皆好。及进入正室，早有许多盛妆丽服之姬妾丫鬟迎着。邢夫人让黛玉坐了，
一面令人到外书房中请贾赦。一时人来回话说：“老爷说了：‘连日身上不好，见了
姑娘彼此伤心，暂且不忍相见。劝姑娘不要伤怀想家，跟着老太太和舅母，是同
家里一样。姊妹们虽拙，大家一处伴着，亦可以解些烦闷。或有委屈之处，只管
说得，不要外道才是。’”黛玉忙站起身来一一听了。再坐一刻，便告辞，邢夫人
苦留吃过饭去，黛玉笑回道：“舅母爱惜赐饭，原不应辞，只是还要过去拜见二舅
舅，恐迟去不恭，异日再领，望舅母容谅。”邢夫人道：“这也罢了。”遂命两个嬷
嬷用方才坐来的车子送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众
人几句，眼看着车去了方回来。
Tea and fruit had been set up when they were talking. Xifeng held tea and fruit for them, hearing the Second Aunt asks him: "Has the monthly payment been paid off?" Xifeng said: "I've done it. I took someone to the back upstairs to look for satin. After looking for it for a long time, I didn't find what Mrs. Wang said yesterday. She might misremember it." " What does it matter?"Mrs. Wang said, "I should have taken out two of them to make clothes for your sister, so I'll ask someone to get them again tonight." Xifeng said: "I have expected it, and already made preparations, knowing she would arrive in two days; After Mrs. Wang goes back to check it, she could bring it here." Mrs. Wang smiled and nodded without saying a word.

Now that the tea and fruit had been removed, Grandmother Jia ordered two nurses to take Daiyu to see her two uncles. Mrs. Xing, the wife of Jia She, hurriedly got up and smiled back: "I'll take my niece there as it is more convenient." Grandmother Jia laughed and said, "Exactly, you go, too. Don't have to come here." Mrs. Xing agreed and took Daiyu to say goodbye to Mrs. Wang. Everyone sent them to the hall. In front of the Chuihua Gate, a group of servants had pulled an oil truck with a green tent. Mrs. Xing sat on it with Daiyu. The women put down the curtains and ordered the servants to lift up and pull it to the width before driving with the mule. They left the West Point Gate to the east, passed the main gate of Rong Mansion, entered a black gate, and got out of the car in front of the Yi gate. Mrs. Xing took Daiyu's hand into the courtyard, which Daiyu thought must be a place partitioned over from the garden in Rong Mansion. Entering the three Yi gates, there are the main room, wings, and verandahs, all of which are small and chic, unlike the magnificent ones over there; and the trees and rocks everywhere in the courtyard are all good. When they entered the main room, there have been many concubines in makeup and beautiful dresses greeted. Mrs. Xing asked Daiyu to sit down and sent people to the outer study room to invite Jia She at the same time. Soon after, someone came back and said: "The master said: 'I have not been well for several days, so I couldn't bear to see you because we'll feel sad if we see each other. Not to be sad and homesick, and live with Grandmother Jia and your aunts, making yourself feel at home. Although the sisters might be clumsy, you can alleviate some of your boredom by staying together. There may be grievances, just say it, but not to outsiders.'" Daiyu stood up and listened carefully. After sitting for a while, she said goodbye. Mrs. Xing invited her to stay for a meal. Daiyu smiled and replied: "Aunt is so welcoming and I should not refuse. But I have to go to see my second uncle　and I am afraid to be disrespectful if I am late. I will visit you next time. Hope you could forgive me. Mrs. Xing said: "All right." Then she ordered two nurses to use the vehicle they had just come in to send them over. So Daiyu bid farewell. Mrs. Xing sent her to the Yi gate, instructing them a few words, and watched the vehicle leave before returning.

1.“Don't have to come here.”→“There will be no need for you to come over again.”
2. I think her translation is great! --[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 14:38, 9 March 2021 (UTC)Wu Xinxin

Tea and fruit had been set up when they were talking. Splendid Phoenix held tea and fruit for them, hearing the Second Aunt asks her: "Has the monthly payment been paid off?" Splendid Phoenix said: "I've done it. I took someone to the back upstairs to look for satin. After looking for it for a long time, I didn't find what Lady Wang said yesterday. She might misremember it." " What does it matter?" Lady Wang said, "I should have taken out two of them to make clothes for your sister, so I'll ask someone to get them again tonight." Splendid Phoenix said: "I have expected it, and already made preparations, knowing she would arrive in two days; After Lady Wang goes back to check it, she could bring it here." Lady Wang smiled and nodded without saying a word.

Now that the tea and fruit had been removed, Grandma Merchant ordered two nurses to take Daiyu to see her two uncles. Lady City, the wife of Pardon Merchant, hurriedly got up and smiled back: "I'll take my niece there as it is more convenient." Grandma Merchant laughed and said, "Exactly, you go, too. Don't have to come here." Lady City agreed and took Mascara Jade to say goodbye to Lady Wang. Everyone sent them to the hall. In front of the Chuihua Gate, a group of servants had pulled an oil truck with a green tent. Lady City sat on it with Mascara Jade. The women put down the curtains and ordered the servants to lift up and pull it to the width before driving with the mule. They left the West Point Gate to the east, passed the main gate of Rong Mansion, entered a black gate, and got out of the car in front of the Yi gate. Lady City took Mascara Jade's hand into the courtyard, which she thought must be a place partitioned over from the garden in Rong Mansion. Entering the three Yi gates, there are the main room, wings, and verandahs, all of which are small and chic, unlike the magnificent ones over there; and the trees and rocks everywhere in the courtyard are all good. When they entered the main room, there have been many concubines in makeup and beautiful dresses greeted. Lady City asked Mascara Jade to sit down and sent people to the outer study room to invite Pardon Merchant at the same time. Soon after, someone came back and said: "The master said: 'I have not been well for several days, so I couldn't bear to see you because we'll feel sad if we see each other. Not to be sad and homesick, and live with Grandma Merchant and your aunts, making yourself feel at home. Although the sisters might be clumsy, you can alleviate some of your boredom by staying together. There may be grievances, just say it, but not to outsiders.'" Mascara Jade stood up and listened carefully. After sitting for a while, she said goodbye. Lady City invited her to stay for a meal. Mascara Jade smiled and replied: "Aunt is so welcoming and I should not refuse. But I have to go to see my second uncle　and I am afraid to be disrespectful if I am late. I will visit you next time. Hope you could forgive me. Lady City said: "All right." Then she ordered two nurses to use the vehicle they had just come in to send them over. So Mascara Jade bid farewell. Lady City sent her to the Yi gate, instructing them a few words, and watched the vehicle leave before returning.

--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 15:27, 26 April 2021 (UTC)

=吴欣欣=
一时黛玉进入荣府，下了车，众嬷嬷引着便往东转弯，走过一座东西的穿
堂，向南大厅之后，仪门内大院落，上面五间大正房，两边厢房鹿顶耳门钻山，四
通八达，轩昂壮丽，比贾母处不同，黛玉便知这方是正内室。一条大甬路，直接
出大门的。进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三
个字，是：“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万几宸
翰”之宝。大紫檀雕螭案上设着三尺来高青绿古铜鼎，悬着待漏随朝墨龙大
画，一边是錾金彝，一边是玻璃盒，地下两溜十六张楠木椅子，又有一副对联，乃
是乌术联牌，镶着錾银字迹，道是：

座上珠玑昭日月，堂前黼黻焕烟霞。

下面一行小字，道是：“乡世教弟勋袭东安郡王穆莳拜手书。”

原来王夫人时常居坐宴息亦不在这正室，只在东边的三同耳房内。于是
老嬷嬷引黛玉进东房门来，临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引
枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几，左边几上文王鼎，匙箸
香盒，右边几上汝窑美人觚，内插着时鲜花卉，并茗碗茶具等物。地下面西一溜
四张椅上，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗
瓶花俱备。其余陈设，不必细说。老嬷嬷让黛玉上炕坐，炕沿上却也有两个锦
褥对设，黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶
来，黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。
Mascara Jade Forest entered the Jung Mansion, descended from the carriage, and preceded by all the nurses, she at once proceeded towards the east, turned the corner, passed through an Entrance Hall, running east and west, and walked in a southern direction, at the back of the Large Hall. On the inner side of a ceremonial gate, and at the upper end of a spacious court, stood a large main building, with five apartments, flanked on both sides by out-houses like the antlers on the head of deer; side-gates, resembling passages through a hill, establishing a thorough communication all round. The main building is lofty, majestic, solid and grand, and unlike those in the compound of Grandma Merchant. Mascara Jade Forest easily concluded that this at last was the main inner suite of apartments. A raised broad road led in a straight line to the large gate.Upon entering the Hall, she first perceived before her a large tablet with blue ground, with nine red golden dragons on it. The inscription on this tablet consisted of three characters as large as a peck-measure, and declared that this was the Hall of Glorious Felicity. At the end, was a row of characters of minute size, denoting the year, month and day, upon which His Majesty had been pleased to confer the tablet upon Jia Yuan, Duke of Jung Kuo. Besides this tablet, were numberless costly articles bearing the autograph of the Emperor. On the lagre black ebony table, engraved with dragons, were placed three antique blue and GREen bronze tripods, about three feet in height. On the wall hung a large picture representing black dragons, such as were seen in waiting chambers of the Sui dynasty. On one side stood a gold cup of chased work, while on the other, a crystal casket. On the ground were placed, in two rows, sixteen chairs, made of hard-grained cedar. There was also a pair of scrolls consisting of black-wood antithetical tablets, inlaid with the strokes of words in chased gold.

Their burden was this: On the platform shine resplendent pearls like sun or moon, and the sheen of the Hall façade gleams like russet sky.

Below, was a row of small characters, denoting that the scroll had been written by the hand of Mushi, a fellow-countryman and old friend of the family, who, for his meritorious services, had the hereditary title of Prince of Tung Ngan conferred upon him.

The fact is that Madam Wang was also not in the habit of sitting and resting, in this main apartment, but in three side-rooms on the east, so that the nurses at once led Mascara Jade Forest through the door of the eastern wing. On a stove-couch, near the window, was spread a foreign red carpet. On the side of honor, were laid deep red reclining-cushions, with dragons, with gold cash, and an oblong brown-colored sitting-cushion with gold-cash-spotted dragons. On both sides, stood one of a pair of small teapoys of foreign lacquer of peach-blossom pattern. On the left side of the teapoy were spread out Wen Wang tripods, spoons, chopsticks and scent-bottles. On the right side of the teapoy were vases from the Ju Kiln, painted with girls of GREat beauty, in which were placed seasonable flowers. On it were also teacups, a tea service and the like articles.On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers, while below, at the feet of these chairs, stood four footstools. On either side, was also one of a pair of high teapoys, and these teapoys were covered with teacups and flower vases. The other nick-nacks need not be minutely described. The old nurses pressed Mascara Jade Forest to sit down on the stove-couch. But on perceiving near the edge of the couch two embroidered cushions, placed one opposite the other, she thought of the gradation of seats, and did not therefore place herself on the couch, but on a chair on the eastern side of the room. Whereupon the waiting maids, in attendance in these quarters, hastened to serve the tea.While drinking tea, Mascara Jade Forest paid attention to the headgear,dress, deportment and manners of the several waiting maids, which was different from what she had seen in other people’s homes.

Jia Yuan →Yuan Merchant--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 16:21, 9 June 2021 (UTC)

=舒琳=
茶未吃了，只见一个穿红绫袄青?掐牙背心的一个丫鬟走来笑道：“太太
说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正
房内，正面炕上横设一张炕桌，上面堆着书籍茶具，靠东壁面西设着半旧的青缎
靠背引枕。王夫人却坐在西边下首，亦是半旧青缎靠背坐褥；见黛玉来了，便往
东让。黛玉心中料定这是贾政之位，因见挨炕一溜三张椅子上也搭着半旧的弹
花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐了。王夫
人乃说：“你舅舅今日斋戒去了，再见罢。只是有一句话嘱咐你：三个姊妹倒都
极好，以后一处念书认字，学针线，或偶一玩笑，都有个尽让的。但我最不放心
的却有一件：我有一个孽根祸胎，是家里的‘混世魔王’，今日因庙里还愿去，尚
未回来，晚间你看见便知道了。你以后只不要采他，你这些姊妹都不敢沾惹他
的。”

黛玉素闻母亲说过，有个内侄乃衔玉而生，顽劣异常，不喜读书，最喜在内
帏厮混；外祖母又溺爱，无人敢管。今见王夫人所说，便知是这位表兄，因陪笑
道：“舅母所说的，可是衔玉而生的这位表兄？在家时记得母亲常说，这位哥哥
比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们极好的。况我来了，自然和
姊妹同一处，兄弟们自另院别室的，岂有得沾惹之理？”王夫人笑道：“你不知道
原故：他与别人不同，自幼因老太太疼爱，原系同姊妹们一处娇养惯的。若姊妹
们不理他，他倒还安静些；若一日姊妹们和他多说了一句话，他心上喜，便生
出许多事来。所以嘱咐你别采他，他嘴里一时甜言蜜语时有天无日，疯疯傻
傻，只休信他。”
Tea has not finished, only to sea a girl wearing a red tweed green pinching vest came to laugh: "Madam said, please sit over there, Miss Lin." The old woman listened, and then led Daiyu out, to the East Corridor three small rooms, the front of the cross-section of a table, stacked with books and tea, west of the east wall set up half-old green stain back-to-back pillows.Mrs. Wang was sitting on the west side, with a half-old blue satin backrest. She moved east when she saw Daiyu coming. Daiyu thought that this was Jia Zheng's position for seeing that there were half-old bombs on the three chairs near the kang, abd sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, and he sat next to Mrs. Wang. Then Mrs. Wang said," Your uncle has gone to abstain from meat and wine today. Goodbye. Besides, I have one thing to tell you: All three sisters who will learn how to read, write, needle, thread, and even make a joke with you, are very good. There is one thing I worried most: I have a wivked womb, the "Hunshi Demon King" in my family. Today, because he has returned to the temple, he has not yet returned. You will know when you see him at night. Do not pick him, and your sisters dare not mess with him." Daiyu once heard her mother say that there was a nephew who was born with jade, very stubborn, did not like to read, most like to hang around in the house, and was spoiled by his grandmother, no one dared to educate him.Today, after hearing what Mrs. Wang said, I knew it was this cousin, so I smiled and said, "Is the aunt talking about this cousin who was born with jade? When I was at home, I remember my mother often said that this brother is one year older than me, his nickname is Baoyu. Although he has a naughty personality, he is very good to the sisters. Now I am here, naturally with the sisters. The brothers are in other rooms.There is no reason to provoke us." Madam Wang smiled and said, "You don't know the reason: He is different from others. He was pampered with the sisters by the old lady since he was a child. If the sisters ignored him, he would be quieter; if one day the sisters said a word to him, he would be very happy, and a lot of things would happen. So I ask you not to pay attention to him, there is sweet talk in his mouth for a while, and supercilious for another while, crazy and stupid. You cannot believe his lies."

=鲍沁雯=
黛玉一一的都答应着。忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫
人忙携了黛玉从后房门，由后廊往西，出了角门，是一条南北宽夹道，南边是倒
座三间小小抱厦厅，北边立着一个粉油大影壁，后有一半大门，小小一小所房室，
王夫人笑指向黛玉道：“这是你凤姐姐的屋子，回来你好向这里找他去，少什么
东西只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王
夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了，于是进入后房门，已有多
人在此伺候，见王夫人来了，方安设桌椅；贾珠之妻李氏棒饭，熙凤安箸，王夫人
进羹。贾母正面榻上独坐，两旁四张空椅，熙凤忙拉黛玉在左边第一张椅子上
坐下，黛玉十分推让，贾母笑道：“你舅母和嫂子们左右不在这里吃饭。你是客，
原该如此坐的。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三
个告了坐方上来，迎春坐右手第一，探春左第二，惜春右第二。旁边丫鬟执着拂
尘漱盂巾帕，李、凤二人立于案旁布让。外间伺候之媳妇丫鬟虽多，却连一声咳
嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每
饭后必过片时方吃茶，不伤脾胃；今黛玉见了这里许多规矩，不似家中，亦只得
随和着些，接了茶。又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上
茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说话儿。”王夫人听了，
忙起身，说了两句闲话，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：
“刚念了《四书》。”黛玉又问姊妹们读何书，贾母道：“读什么书，不过认几个字
罢了！”
Daiyu agreed one by one. Suddenly a servant girl came to say :" the old lady is ordering us to have dinner ." Mrs. Wang hurriedly took Daiyu out of the back door, walked west along the back porch, out of the corner door, a wide north-south road, three small halls in the south, a large white-painted barrier wall in the north, half a gate and a small chamber behind it. Mrs. Wang smiled, pointed to Daiyu and said: “This chamber belongs to your Sister Feng, you can come here to find her after your coming back and just tell her whatever you need.” At the gate of the yard were several eight or nine-year-old servant boys standing on one side with their hands down. Lady Wang led Daiyu through an entrance hall running from east to west into the Lady Dowager's back courtyard. They entered the back door from here, where many people waited. After seeing Mrs. Wang coming, they went about setting up tables and chairs: Mrs. Jia, Li, brought the meal, Xifeng helped put the chopsticks, and Mrs. Wang served soup. Lady Dowager was sitting alone on the front seat, with four empty chairs on both sides. Xi Feng hurriedly pulled Daiyu to sit down on the first chair on the left, but Daiyu declined greatly. Lady Dowager smiled and said: “Your aunt and sister - in - law wouldn't eat here. You're a guest. You should have sat like this ." Therefore, Daiyu thanked Jia and sat down. Jia then ordered Mrs. Wang to sit down, too. The three sisters of Yingchun thanked for Jia’s giving seats and came up. Ying Chun sat on the first seat on Jia's right hand side, Tan Chun on the second on the left, and Xi Chun on the second on the right. The nearby servant girl was holding a horsetail whisk, a washbasin and some towels. Li Zhi and Wang Xifeng stood at the table and sent the dishes to everyone to eat. Outside the room there were many wives and servant girls waiting upon, but they did not even hear a cough coming from the inside. After eating, the servant girls served tea to each person with some small tea plates. That day Lin Ruhai taught women to cherish their blessings and keep good health: after eating, they must wait until the rice are swallowed up, after a while before drinking tea, only in that way they can not hurt their spleens and stomachs. Today, Daiyu saw that there were so many rules here, not like at home, she had to comply with and take over the tea. Some people came to the basin, whereupon Daiyu gargle mouth, and wash hands clean. Then someone brought tea, which was the tea for actually drinking. Jia then said :" Off you go, just let me and Daiyu have a comfortable chat ." Mrs. Wang listened, hurriedly got up, said a couple of courtesy words and then led Li, Feng two people left. Jia then asked Daiyu what books she was reading, Daiyu said :"I have just finished reading The Four Books ." Daiyu then asked the sisters what books they were reading, and Jia said :" They haven’t read anything but recognize a few words only !"

--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 16:41, 23 March 2021 (UTC)
Suddenly a servant girl came to say :" The old lady is ordering us to prepare for dinner ."
“This chamber belongs to your Sister Feng. You can come here to find her after your coming back and just tell her whatever you need.”
At the gate of the yard were several eight or nine years old servant boys standing on one side with their hands down.
Wang Xifeng stood at the table and sent dishes to everyone to eat.
After meal, the servant girls served tea to each person with some small tea plates.
Mrs. Wang listened, hurriedly got up, said a couple of courtesy words and then led Li, Feng two people to leave.

=黄芳芳=
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心中
想：“这个宝玉不知是怎生个惫懒人物！”及至进来，原是一个青年公子，头上戴
着束发嵌宝紫金冠，齐眉勒着二龙抢珠金抹额，一件二色金百蝶穿花大红箭袖，
束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂，登着青缎粉底小
朝靴；面若中秋之月，色如春晓之花，鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波，
虽怒时而似笑，即瞋视而有情；项上金螭缨络，又有一根五色丝绦，系着一块美
玉。

黛玉一见便吃一大惊，心中想道：“好生奇怪，倒像在那里见过的，何等眼
熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”即转身去了。一回
再来时，已换了冠带，头上周围一转的短发，即结成小辫，红丝结束，共攒至顶中
胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上
穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；下面半露松
花撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，
语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最
是极好，却难知其底细，后人有作《西江月》二词批宝玉极确，其词曰：

Words being spat out, a footfall outside approaching,a girl comes in and reports:" Precious Jade is coming." Daiyu ponders:"How is Precious Jade naughty?" When he comes in, it's surprising to find a youth, handsome and well dressed.Full-moon face, knife hair on the temples, ink brows, straight nose, and bright eyes are as charming as fresh flowers. He appears to smile while angry, and to glare sentimentally. He wears a necklace with a five-color string tying a gem.

Shocked greatly at the first sight of him, Mascara Jade thinks:"Something weird. It seems that I've seen him somewhere. He looks so familiar." Precious Jade pays respects to Grandma Merchant, then obeys Grandma Merchant's order, turning around and going to pay respects to his mom. His hair band has been changed when he is back while his necklace, gem, name carrier, amulet and other ornaments remain. This flatters him as if he makes up his face. There is enchantment in his behavior and pleasure in his words. Naturally graceful bearing collected on his brows, variously mortal feelings piled on the corners of his eyes. In terms of appearance Precious Jade ranks high, but it's hard to prove it. A person of the future makes an exact comment on Precious Jade in a poem, The moon on the west river. Its content is as follows:

1. "Words being spat out, a footfall outside approaching,a girl comes in and reports...":I think the nominative absolute structure used here is a little bit unnatural and weird. May it can be translated as: The conversation goes on but was interrupted by a series of footsteps. A maid comes in and reports:...

2."Full-moon face, knife hair on the temples, ink brows, straight nose, bright eyes and as charming as fresh flowers." :I'm not sure if think there is a grammar mistake here. Maybe "and" should be replaced by "are" because there seems not to be a verb in the sentence.

3. "I'v": a spelling mistake here that should be "I've".

4." turning around and going to pay respects to his mom.": I think there is another grammar mistake. The verbs here are a sequence of actions which should not appear as an adverbial modifier.

5." There are enchantment in his behavior...": As enchantment is an uncountable noun, the verb here should be "is".

6."Naturally graceful bearing collected on his brows, variously mortal feelings piled on the corners of his eyes.": The tense used here does not correspond with the whole passage. It should be corrected to the simple present tense.

--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:07, 9 March 2021 (UTC)

=唐启洲 Tang Qizhou=

无故寻愁觅恨，有时似傻如狂；纵然生得好皮囊，腹内原来草莽。

潦倒不通庶务，愚顽怕读文章；行为偏僻性乖张，那管世人诽谤！

富贵不知乐业，贫穷难耐凄凉；可怜辜负好韶光，于国于家无望。

天下无能第一，古今不肖无双；寄言纨裤与膏粱：莫效此儿形状！

却说贾母笑道：“外客未见就脱了衣裳！还不去见你妹妹。”宝玉早已看见了一个姊妹，便料定是林姑妈之女，忙来作揖，相见毕归坐，细看形容，与众各别：

两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。态生两靥之愁，娇袭一身之病。泪光点点，矫喘微微。闲静似娇花照水，行动似弱柳扶风。心较比干多一窍，病如西子胜三分。

宝玉看罢，笑道：“这个姊妹我曾见过的。”贾母笑道：“可又是胡说，你何曾见过他？”宝玉笑道：“虽然未曾见过他，然看着面善，心里像倒是旧相认识，恍若远别重逢的一般。”贾母笑道：“好，好！若如此更相和睦了。”

Seeking sadness and hatred without reasons, sometimes acting like a fool or a maniac; though born to be handsome in appearance, he is filled with useless weeds inside.

Untrammeled and not knowing secularity, stupid and naughty, and disliking reading classics; his acts and disposition are extreme and strange, and he does not care about floating rumors.

Unsatisfied when the family is rich, steeped in desolation when the family gets poor; it is a pity that he misses the best time of his life and is of no use in serving for the nation and the family.

Ranking No.1 among the incompetents from the north to south, from the past to now; I would advise rich kids: do not act like this young man!

Grandma Merchant smiled and said," You have not greeted the distant guest but have already changed your clothing! Now hurry up and greet your cousin." Precious Jade had seen a girl there earlier and had almost concluded that she must be the daughter of his aunt. He hastened to make a bow with hands folded in front, and took his seat after the etiquette. Now he finally got the chance to observe her appearance attentively, finding that she was indeed different from other girls:

May be frowned and maybe not, two of her arched eyebrows were likely to be covered by smoke; maybe happy and maybe not, the pair of her eyes were filled with sentimentality. A sorrowful look grew on her dimpled face. So delicate and weak was her that a series of disease dwelled in her body. Tears glittered in her eyes, and so gentle was her breath. She was like a beautiful flower mirrored in the water when being quiet, and was like a fragile willow shivering in the wind when she moved. Her heart had one more orifice and thus was more intelligent compared with Bigan, and her illness was just like Xishi, and even exceeded hers by three degrees.

Precious Jade watched and smiled," I have seen this girl." "You must be joking. How could you meet her before?" laughed Grandma Merchant. "Though I have not seen her in reality, as she looks so kind, she appears to me as an old friend, as if we are reuniting after a long separation. " said Precious Jade, smirking. "Alright, alright! Then you will get along with each other in harmony." exclaimed Grandma Merchant.

--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 16:03, 4 March 2021 (UTC)

Seeking sadness and hatred without reasons, acting like a fool or a maniac sometimes; though born to be handsome in appearance, inside he is filled with useless weeds.

Frustrated and knowing nothing in secularity, disliking reading due to he is stupid and naughty; with strange disposition and acting extremely, for floating rumors there is nothing should be treated carefully!

Unsatisfied with actuality when he is wealthy, steeped in desolation when suffering form poverty; missing his valuable time which is unworthy; he is of no use in serving for the nation and family.

From the north to south, from the past to nowadays; Ranking No.1 among the incompetents; I would advise rich kids: do not act like this!

Grandma Merchant smiles, "You have not greeted the distant guest but have already changed your clothing! Hurry up to greet your cousin. " Precious Jade has seen a girl whom he has affirmed as his aunt’s daughter. He hastens to bow with hands folded in front of him. After taking seats he looks her appearance carefully and only to find she is different from others:

Maybe frowned or not, two of her arched eyebrows are like a wisp of film, maybe happy or not, a pair of her emotional eyes are filled with sentimentality. A sorrowful look grows on her dimpled face; so delicate and weak she is that her body is dwelled with diseases. With sorrowful tears and gentle breathe, when being quiet she is a lovely flower in the water; when being moving she is a fragile willow which leans on the wind. Her mind has one more deep thinking than King Week's uncle, and her illness is more delicate than Beauty West in three degrees.

After Precious Jade's looking he smiles, "I have met her." Grandma Merchant laughs, "You must be joking. How could you meet her?" Precious Jade says, "Though I have not met her, her graceful face brings me a of feeling of familiarity. It is like a reunion after a thousand years." "Well, well, then you are able to get well with each other." Grandma Merchant laughs.
--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 01:02, 9 March 2021 (UTC)--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 12:54, 26 April 2021 (UTC)

=赵轲=
宝玉便走向黛玉身边坐下，又细细打谅一番，因问：“妹妹可曾读书？”黛玉
道：“不曾读书，只上了一年学，些须认得几个字。”宝玉又道：“妹妹尊名？”黛玉
便说了名，宝玉又道：“表字？”黛玉道：“无字。”宝玉笑道：“我送妹妹一字，莫若
‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：‘西
方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，用取这两个字岂不甚美？”探
春笑道：“只恐又是杜撰。”宝玉笑道：“除《四书》，杜撰的太多，偏只我是杜撰不
成？”又问黛玉：“可有玉没有？”众人都不解，黛玉便忖度着：“因他有玉，故问我
有无。”因答道：“我没有。那玉亦是件罕物，岂能人人皆有？”
宝玉听了，登时发作起狂病来，摘下那玉，就狠命摔去，骂道：“什么罕物！
人的高下不识，还说灵不灵呢！我也不要这劳什子。”吓的地下众人一拥争去
拾玉，贾母急的搂了宝玉道：“孽障！你生气要打骂人容易，何苦摔那命根子！”
宝玉满面泪痕泣道：“家里姐姐妹妹都没有，单我有，我说没趣，如今来了这个神
仙似的妹妹也没有，可知这不是个好东西。”贾母忙哄他道：“这妹妹原有玉来
的，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去，一则全殉葬
之礼，尽你妹妹之孝心；二则你姑妈之灵亦可权作见了你妹妹之意。因此他只
说没有玉，也是不便自己夸张之意。你如今怎比得他，还不好生慎重带上，仔细
你娘知道了。”说着便向丫鬟手中接来，亲与他带上。宝玉听如此说，想一想，也
就不生别论了。
Then Baoyu goes to Daiyu and sits down by her. After sizing up he raises a question, "Have you ever attended school?" "I haven't," says Daiyu, "I just studied for one year and learned some words." Baoyu says, "May I have your name?" Daiyu tells him, which leads to another asking --"How about your secondary personal name?" "Nothing," says Daiyu. Baoyu laughs, "How about letting me send you one? I believe there is nothing more wonderful than 'Pinpin'." "Where does it come from？" asks Tanchun. Baoyu answers, "According to the record in ''Authentication of Ancient and Modern Characters'', 'There is a stone named Dai, which is able to replace graphites to draw eyebrows.' Moreover, with her slightly frowning eyebrows, 'Pinpin' is the most suitable one." Tanchun laughs, "I am afraid that is another fabrication." "There is so many fabrications except the Four Books," Baoyu smiles, "Only what I mentioned is made up?" Then he tends to Daiyu, "Do you have a jade？" Everyone is confused. So Daiyu speculates-- "Maybe that is because he owns one. " She says, "No, I don't. The jade is scarce, which is unable to be kept by everyman." Hearing that, Baoyu suddenly goes crazy, ripping off his jade, slamming it and cursing, "What? Curiosity? Failing to recognize a person's nobleness, can anyone believe its efficacy? I don't need such a nuisance." Those servants who are shocked pick it up emulatively. Mrs Jia falls on his neck anxiously, "You rascal! It is easy to strike and curse with anger. But why do you throw your lifeblood?" Baoyu says with crying, "It is boring to be the only one who owns the jade in our family. Now the cousin like a fay also has no jade. It must be something wicked." Mrs Jia coaxes him immediately, "She did have a jade. When your aunt passed away, she could not let your cousin go, and there was no way to solve it. Then your aunt took away the jade. On the one hand, to complete the ceremony of funerals and show her filial piety; on the other hand, that the spirit of your aunt can also use it to gratify the wish of gazing on your cousin. That’s why she told you that she had no jade, because she was unwilling to express her praise to herself. Now, how can you compare with her? Don't you put it on cautiously? Be careful that your mother may know what you have done." With her speaking, Mrs Jia takes the jade from a servant girl, put it on him in person. After hearing that and thinking for a while, Baoyu has no objection.

Then Baoyu goes to Daiyu and sits down by her.→Then Baoyu walks towards Daiyu and sits down next to her.
After sizing up he raises a question→After sizing up, he raises a question
How about letting me send you one?→Let me present you one.
’There is a stone named Dai, which is able to replace graphites to draw eyebrows.'→ 'There is a stone named Dai in the west, which is able to replace graphites for drawing eyebrows.'
Moreover, with her slightly frowning eyebrows, 'Pinpin' is the most suitable one.→Moreover, because of her slightly frowning eyebrows, 'Pinpin' is the most suitable one.
There is so many fabrications except the Four Books.→There are so many fabrications except the Four Books.
Then he tends to Daiyu→Then he asks Daiyu
The jade is scarce, which is unable to be kept by everyman.→The jade is too scarce for everyone to have one.
Failing to recognize a person's nobleness, can anyone believe its efficacy?→It Fais to recognize a person's nobleness. Can anyone believe its efficacy?
Those servants who are shocked pick it up emulatively.→This move shocks those who are on the ground to scramble to pick up the jade.
Baoyu says with crying→Baoyu crys with tears stains on his face
she could not let your sister go→she was loath to part with your sister
to complete the ceremony of funerals and show her filial piety→it is to show the etiquette of the funeral and her filial piety
Mrs Jia takes the jade from a servant girl, put it on him in person→Mrs Jia takes the jade from a servant girl and puts it on him in person
--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:53, 6 March 2021 (UTC)Liu Zhuofan刘卓凡

Then Precious Jade goes to Mascara Jade and sits down by her. After sizing up he raises a question, "Have you ever attended school?" "I haven't," says Mascara Jade, "I just studied for one year and learned some words." Precious Jade says, "May I have your name?" Mascara Jade tells him, which leads to another asking --"How about your secondary personal name?" "Nothing," says Mascara Jade. Precious Jade laughs, "How about letting me send you one? I believe there is nothing more wonderful than 'Pinpin'." "Where does it come from？" asks Seeking-Spring. Precious Jade answers, "According to the record in ''Authentication of Ancient and Modern Characters'', 'There is a stone named Dai, which is able to replace graphites to draw eyebrows.' Moreover, with her slightly frowning eyebrows, 'Pinpin' is the most suitable one." Seeking-Spring laughs, "I am afraid that is another fabrication." "There is so many fabrications except the Four Books," Precious Jade smiles, "Only what I mentioned is made up?" Then he tends to Mascara Jade, "Do you have a jade？" Everyone is confused. So Mascara Jade speculates-- "Maybe that is because he owns one. " She says, "No, I don't. The jade is scarce, which is unable to be kept by everyman." Hearing that, Precious Jade suddenly goes crazy, ripping off his jade, slamming it and cursing, "What? Curiosity? Failing to recognize a person's nobleness, can anyone believe its efficacy? I don't need such a nuisance." Those servants who are shocked pick it up emulatively. Granny Merchant falls on his neck anxiously, "You rascal! It is easy to strike and curse with anger. But why do you throw your lifeblood?" Precious Jade says with crying, "It is boring to be the only one who owns the jade in our family. Now the cousin like a fay also has no jade. It must be something wicked."Granny Merchant coaxes him immediately, "She did have a jade. When your aunt passed away, she could not let your cousin go, and there was no way to solve it. Then your aunt took away the jade. On the one hand, to complete the ceremony of funerals and show her filial piety; on the other hand, that the spirit of your aunt can also use it to gratify the wish of gazing on your cousin. That’s why she told you that she had no jade, because she was unwilling to express her praise to herself. Now, how can you compare with her? Don't you put it on cautiously? Be careful that your mother may know what you have done." With her speaking, Granny Merchant takes the jade from a servant girl, put it on him in person. After hearing that and thinking for a while, Precious Jade has no objection.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:42, 24 April 2021 (UTC)

=刘卓凡=
当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里；
把你林姑娘暂安置碧纱厨里，等过了残冬，春天再与他们收拾房屋，另作一番安
置罢。”宝玉道：“好祖宗！我就在碧纱厨外的床上很妥当，又何必出来，闹你老
祖宗不得安静？”贾母想了一想，说：“也罢了。”每人一个奶娘并一个丫头照管，
余者在外间上夜听唤。一面早有熙凤命人送了一顶藕合色花帐并锦被缎褥之
类。

黛玉只带了两个人来：一个是自己的奶娘王嬷嬷，一个是十岁的小丫头，
名唤雪雁。贾母见雪雁甚小，一团孩气，王嬷又极老，料黛玉皆不遂心，将自已
身边一个二等丫头名唤鹦哥的与了黛玉；亦如迎春等一般，每人除自幼乳母外，
另有四个教引嬷嬷；除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋来
往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉之乳母李嬷嬷
并大丫鬟名唤袭人者陪侍在外大床上。

原来这袭人亦是贾母之婢，本名珍珠，贾母困溺爱宝玉，生恐宝玉之婢不
中任使，素知袭人心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有
“花气袭人”之句，遂回明贾母，即更名袭人。
At the moment, a nurse came to ask for the room where Daiyu settled down. Lady Jia said: "Move Baoyu out Bishachu and let him live in the Suite Warming Room with me. Place Miss Lin there temporarily in the remaining winter. When spring comes, I will have someone to clean up a room and make some other arrangements." Baoyu said: "Dear grandma! It is appropriate for me to sleep in on the bed outside the room. Why bother coming out to disturb your tranquility?" Lady Jia considered that for a while and said :"All right." Both Daiyu and Baoyu were taken care of by a nurse and a maid. The rest of the servants are ready to respond to the commands in the outside room at night. Earlier in the day, Xifeng had ordered someone to send a lotus-colored flower bed curtain as well as a brocade quilt and a satin mattress and so on.
Daiyu just took two people with her: her own nurse Mammy Wang and a ten-year-old girl named Xueyan. Lady Jia thought Xueyan too young while Mammy Wang too old for Daiyu to do whatever she wanted,so she gave Daiyu a second class maid named Yingge who served her. Like others such as Yingchun, everyone had another four lead educating mammies in addition to their own nurse from childhood; everyone had four or five maids who were used to clean the houses and do the chores except two personal servant girls who were in charge of the storage of jewelry and served for bath. At the moment, Mammy Wang and Yingge accompanied Daiyu in Bishachu; Baoyu's nurse Mammy Li and superior maid named Xiren accompanied him in the large bed outside Bishachu.
Xiren was also one of the maids of Lady Jia before and her original name was Zhenzhu. Lady Jia spoiled Baoyu and worried that his maids were unable to serve him well. She always knew that Xiren is virtuous，so she gave Xieren to Baoyu.Baoyu knew her original family name was Hua and he had saw a poem,"The fragrance of flowers assails one's nose", from the past.As a result, he told Lady Jia and renamed her as Xiren.

At the moment, a wet nurse came and asked for the room where Daiyu settled down.→When spring comes, I will have the room cleaned up and make some other arrangements.→ Why bother coming out and disturb you？→Consequently, both Daiyu and Baoyu were then taken care of by a nurse and a maid.→Earlier in the day, Xifeng had ordered someone to send a lotus-colored flower bed curtain with a brocade quilt and a satin mattress and so on.
Lady Jia thought Xueyan too young and naughty while Mammy Wang too old for Daiyu to do whatever she wanted,so she ordered a second class maid named Yingge who served her to serve Daiyu.→Everyone had another four or five maids who were oreder to clean the houses and do the chores except two personal servant gi Baoyu knew her original family name was Hua and he had saw a poemrls who were in charge of the storage of jewelry and served for bath.→Xiren was also one of the maids of Lady Jia before and her original name was Pearl.→so she ordered Xieren to serve Baoyu. Baoyu knew her original family name was Hua and he had saw a former poem. --[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 07:10, 7 March 2021 (UTC)

At the moment, a nurse came to ask for the room where Mascara Jade settled down. Lady Grandma said: "Move Precious Jade out Bishachu and let him live in the Suite Warming Room with me. Place Miss Lin there temporarily in the remaining winter. When spring comes, I will have someone to clean up a room and make some other arrangements." Precious Jade said: "Dear grandma! It is appropriate for me to sleep in on the bed outside the room. Why bother coming out to disturb your tranquility?" Lady Grandma considered that for a while and said :"All right." Both Mascara Jade and Precious Jade were taken care of by a nurse and a maid. The rest of the servants are ready to respond to the commands in the outside room at night. Earlier in the day, Splendid Phoenix had ordered someone to send a lotus-colored flower bed curtain as well as a brocade quilt and a satin mattress and so on.
Mascara Jade just took two people with her: her own nurse Mammy Wang and a ten-year-old girl named Snowgoose. Lady Grandma thought Snowgoose too young while Mammy Wang too old for Mascara Jade to do whatever she wanted,so she gave Mascara Jade a second class maid named Nightingale who served her. Like others such as Spring Pleasure, everyone had another four lead educating mammies in addition to their own nurse from childhood; everyone had four or five maids who were used to clean the houses and do the chores except two personal servant girls who were in charge of the storage of jewelry and served for bath. At the moment, Mammy Wang and Nightingale accompanied Mascara Jade in Bishachu; Precious Jade's nurse Mammy Li and superior maid named Aroma accompanied him in the large bed outside Bishachu.
Aroma was also one of the maids of Lady Grandma before and her original name was Pearl. Lady Grandma spoiled Precious Jade and worried that his maids were unable to serve him well. She always knew that Aroma is virtuous，so she gave Aroma to Precious Jade.Precious Jade knew her original family name was Flower and he had saw a poem,"The fragrance of flowers assails one's nose", from the past.As a result, he told Lady Grandma and renamed her as Aroma.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:42, 24 April 2021 (UTC)

=黄梓龙=
这袭人有些痴处：伏侍贾母时，心中眼中只有一个贾母；今跟了宝玉，心中
眼中又只有一个宝玉。只因宝玉性情乖僻，每每规谏，宝玉不听，心中着实忧
郁。是晚宝玉李嬷嬷已睡了，他见里面黛玉鹦哥犹未安歇，他自卸了妆，悄悄的
进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”袭人在床沿上坐
了，鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的，说：‘今儿才来了，就惹出
你家哥儿的病，倘或摔坏了那玉，岂不是因我之过！’所以伤心，我好容易劝好
了。”袭人道：“姑娘快休如此，将来只怕比这更奇怪的笑话儿还有呢。若为他
这种行状，你多心伤感，只怕你还伤感不了呢，快别多心！”黛玉道：“姐姐们说
的，我记着就是了。”又叙了一回，方才安歇。

次早起来，省过贾母，因往王夫人处来，正值王夫人与熙凤在一处拆金陵
来的书信，又有王夫人之兄嫂处遣来的两个媳妇儿来说话的。虽黛玉不知原
委，探春等却晓得是议论金陵城中居住的薛家姨母之子，表兄薛蟠，倚财仗势，
打死人命，现在应天府案下审理，如今母舅王子腾得了信，遣人来告诉这边，意
欲唤取进京之意。毕竟怎的，下回分解。

The Xiren is somewhat loyal:When she served Lady Jia,she was the only one she cared for;Now when she serves Jia Baoyu, he then becomes the only one who she cares for.But Baoyu is odd and doesn't follow advice every time he is advised. Xiren is worried about this.That night after Baoyu and Nanny Li were asleep, Xiren noticed that Daiyu and Yingge were still up in the inner room. Xiren removed her make-up and came in secretly,smilingly asking,"why are you still up?" Daiyu smiled and hurried to make room for her,"Sister, sit down please." Xiren then sat down at the edge of the bed. Yingge smiled and said," Miss Lin sadly wept here and said'I came here today and cause the illness of your brother,and if he had broken the jade,I would be to blame for it!'She is grieved and I spent a lot time on comforting her. Xiren said,"Miss,do not be sad like this. Maybe there would be farces stranger than this. If you grieve his behaviors, I'm afraid you would not bear the sadness,so do not be sentimental." Daiyu said," I would bear in mind what you've said." They continued to chat for a while before going asleep.
The next day,Daiyu went to Madam Wang's place after she greeting Lady Jia when Madam Wang and Xifeng were opening the letter from Nanjing.Another two wives from Madam Wang's cousins'place were chatting with them.Not knowing what they were talking about,Daiyu got to know the reason from Tanchun and others. It turned out that Cousin Xuefan, Madam Xue's son who is living in Nanjing,threw his weight around and beat someone to death.The Yingtian prefecture was now hearing the case. Uncle Wang Ziteng was informed and sent someone here to deliver the message to ask for their entering into Nanjing.To find out,read the next chapter.

=黄沥霈=
◎第四回薄命女偏逢薄命郎葫芦僧判断葫芦案

却说黛玉同姊妹们至王夫人处，见王夫人与兄嫂处的来使计议家务，又说姨母家遭人命官司等语；因见王夫人事情冗杂，姐妹们遂出来，至寡嫂李氏房中来了。

原来这李氏即贾珠之妻。珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女，父名李守中，曾为国子祭酒；族中男女无不读诗书者，至李守中继续以来，便谓“女子无才便为德”，故生了便不十分认真读书，只不过将些《女四书》、《烈女传》读读，认得几个字罢了，记得前朝这几个贤女便了；却以纺绩女红为要，因取名为李纨，字宫裁。因此这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如“槁木死灰”一般，一概不问不闻，惟知侍亲养子，外则陪侍小姑等针黹诵读而已。今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，余者也就无用虑及了。

Return to our story, Mascara Jade and her cousins came to Lady King's residence, found Lady King was discussing certain household duties with the messenger who came from her elder brother's wife's home, and also talking about the case of homicide that her mother's sister had involved and other relevant topics; consider of how bewildering were the matters which Madam Wang was engaged, the young ladies left her residence and came over to the room of their widow sister-in-law, Mrs. Plum.

Mrs. Plum had originally been the spouse of Bead Merchant. Although Bead Merchant had died at an early age, he had a good fortune of leaving behind him a son, he was given a name called Orchid Merchant, he had already entered school at his age of five at this period. Mrs. Plum was also the daughter of an official in ChinLing, her father's name Midfielder Plum who had been Chancellor of the National University; There are men as well as women had all devoted-themselves to poetry and books among his kin, but ever since Midfielder Plum continued the line of succession, he declared that innocence is the virtue for women, so that it came about that she did not apply herself to learning and turn into the result that all she studied were the "Four Books for women," and the "Memoirs of excellence women," the books she read were to limit the number of characters for her to learn, also that all she memorized were the examples of these few worthy female characters of dynasties of the past; while she attached the most importance to spinning and weaving, to this reason, the name, Silk Li and style name, 'Tailor in Imperial Palace' were selected for her. Hence, losing of her mate while she was young, she still continued to live luxury, nevertheless she resembled as a block of rotten wood or dead ashes, she had no willing to inquire or listen to anything, the only thing she flung herself into was to serve her relatives and educate her son, in addition to this, she taught her young sister-in-law to do needlework and to read aloud. At this period, Mascara Jade was living as a guest at the Chia mansion, she had several young ladies to accompany with her, but besides her aged father, there was no need for her to show affection to any of the rest.

To resume. Daiquiri and the other girls found Lady Wang discussing family affairs with messengers sent by her brother, and heard that her sister’s son was involved in a murder case; consider of how bewildering were the matters which Madam Wang was engaged, the young ladies left her residence and came over to the room of their widow sister-in-law, Mrs. Li.

Mrs. Li was the widow of Bead Merchant who had died young, but luckily she had a son, Orchid Merchant. He had already entered school at his age of five at this period. Mrs. Li was also the daughter of an official in ChinLing, her father's name Li Shou-Zhong who had been Chancellor of the National University; All the sons and daughters of his clan had been devoted to the study of the classic, but ever since Li Shou-Zhong continued the line of succession, he declared that innocence is the virtue for women, so that it came about that she did not apply herself to learning and turn into the result that all she studied were the "Four Books for women," and the "Memoirs of excellence women," the books she read were to limit the number of characters for her to learn, also that all she memorized were the examples of these few worthy female characters of dynasties of the past; while she attached the most importance to spinning and weaving, to this reason, the name, LiWan and style name, GongT'sai were selected for her. Hence, losing of her mate while she was young, she still continued to live luxury, nevertheless she resembled as a block of rotten wood or dead ashes, she had no willing to inquire or listen to anything, the only thing she flung herself into was to serve her relatives and educate her son, in addition to this, she taught her young sister-in-law embroidery and reading. Though Daiyu was only a guest here, with cousins like these to keep her company she felt completely at home, except for worrying sometimes about her father.--[[User:Guo YaBo|Guo YaBo]] ([[User talk:Guo YaBo|talk]]) 23:55, 16 March 2021 (UTC)

如今且说贾雨村授了应天府，一到任就有件人命官司详至案下，乃是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告之人来审，那原告道：“被殴死者乃小人之主人。因那日买了一个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主原说第三日方是好日子，再接入门；这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无踪迹了，只剩了几个局外之人。小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”

雨村听了大怒道：“岂有过等事！打死了人，竟白白走了拿不来的！”发签差公人立刻将凶犯家属拿来拷问。只见案旁立着一个门子，使眼色不令他发签。雨村心下狐疑，只得停了手。退堂至密室，令从人退去，只留此门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”雨村道：“却十分面善，一时想不起来。”门子笑道：“贵人多忘事，把出身之地竟忘了，不记得当年葫芦庙里之事么？”

雨村大惊，方忆起往事。原来这门子本是葫芦庙里一个小沙弥，因被火之后，无处安身，想这件生意倒还轻省，耐不得寺院凄凉景况，遂趁年纪尚轻，蓄了发，充当门子。雨村那里料得是他，便忙携手笑道：“原来是故人。”因令坐了好谈。这门子不敢坐，雨村笑道：“贫贱之交不可忘也，此系私室，但坐何妨。”这门子方告了坐，斜签着坐了。

雨村道：“方才何故不令发签？”这门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”门子道“如今凡作地方官者皆有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然；倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府，都因碍着情分脸面，所以如此。”一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村，看时，上面皆是本地人族名宦之家的谚俗口碑，云：

贾不假，自玉为堂金作马。

阿房官，三百里，住不下金陵一个史。

东海缺少白玉床，龙王来请金陵王。

丰年好大雪，珍珠如土金如铁。

雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠出去接迎。有顿饭工夫方回来，问这门子，门子道：“这四家皆连络有亲，一损俱损，一荣俱荣，扶持遮饰，皆有照应的。今告打死人之薛就是‘丰年大雪’之‘薛’也。不单靠这三家，他的世交亲友在都在外者本亦不少，老爷如今拿谁去？”雨村听如此说，便笑问门子道：“如你这样说来，却怎么了结此案？你大约也深知这凶犯躲的方向了？”

门子笑道：“不瞒老爷说，不但这凶犯躲的方向我知道，并这拐卖的人我也知道，死鬼买主也探知道，待我细说与老爷听：这个被打死的乃是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日；年纪十八九岁，酷爱男风，不甚好女色。这也是前生冤孽，可巧遇见这拐子卖丫头，他便一眼看上了这丫头，立意买来作妾，设誓不近男色，也不再娶第二个了，所以郑重其事，必得三日后方进门。

谁知这拐子又偷卖与薛家，他意欲卷了两家的银了而逃，谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。那薛公子岂肯让人的，便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原早择下日子要上京去的，既打了冯公子，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃。这人命些些小事，自有他弟兄奴仆在此料理。这且别说，老爷可知这被卖之丫头为谁？”雨村道：“我如何得知？”门子冷笑道：“这人还是老爷的大恩人呢！他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来就是他！闻得他自五岁被人拐去，却如今才卖呢？”

门子道：“这种拐子单拐的是幼女，养至十二三岁，带至他乡转卖。当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱得齐整，然大段未改，所以认得他。且他眉心中原有米粒大的一点胭脂?，从胎里带来的。

偏生这拐子又租了我的房舍居住，那日拐子不在家，我也曾问他，他说是被拐子打怕了的，万不敢说，只说拐子是他亲爹，因无钱还债故卖的。我哄他再四，他又哭了，只说：‘我原不记得小时之事。’这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见冯公子三日后才令过门，他又转有忧愁之态。我又不忍，等拐子出去，又叫内人去解释他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土，遂打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”

雨村听了叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。这正为梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了！小的闻得老爷补升此任，系贾府王府之力；此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾王二公。”雨村道：“你说的何尝不是。但事关人命，蒙皇上隆恩起复委用，正竭力图报之时，岂可因私枉法，是实不忍为的。”门子听了冷笑道：“老爷说的何尝不是，但如今世上是行不去的，岂不闻古人有言‘大丈夫相时而动’，又曰‘趋吉避凶者为君子’。依老爷这说，不但不能报效朝廷，亦且自身不保：还要三思为妥。”

雨村低了头，半日方说道：“依你怎么样？”门子道：“小人已想了个极好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人，凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问，小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈，老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看，老爷只说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今狭路相遇，原因了结。今薛蟠已得了无名之病，被冯魂追索而死。其祸皆由拐子而起，除将拐子按法处治外，余不略及’等语。小人暗中嘱咐拐子，令其实招；众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与了冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，或可压服口声也罢了。”二人计议已定。

至次日坐堂，勾取一干有名人犯，雨村详加审问，果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让，故致颠倒未决。雨村便徇情枉法，胡乱判断了此案，冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意；后来到底寻了他一个不是，远远的充发了才罢。

当下言不着雨村。且说那买了英莲、打死冯渊的那薛公子，亦系金陵人氏，本是书香继世之家，只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。虽是皇商，一应经纪世事，全然不知，不过赖祖父旧日的情分。户部挂虚名，支领钱粮，其余事体，自有伙计老家人等措办。寡母王氏乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏，是一母所生的姊妹，今年方四十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅，当时他父亲在日，概爱此女，令其读书识字，较之乃兄，竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹家计等事，好为母亲分忧代劳。近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，在世宦名家之女，皆得亲名达部，以备选择，为宫主郡主入学陪侍，充为才人赞善之职。自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会，一来送妹待选，二来望亲，三来亲自入部销算旧账，再计新支，其实只为游览上国风光之意。因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇了那拐子，买了英莲。薛蟠见英莲生得不俗，立意买了，又遇冯家来夺，因恃强喝令手下豪奴将冯渊打死，便将家中事务，一一嘱托了族中人并几个老家人，他便带了母妹等，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个臭钱，没有不了的。

在路不记其日。那日已将入都，又闻得母舅王子腾升了九省统制，奉旨出
都查边，薛蟠心中暗喜道：“我正愁进京去有母舅管辖，不能任意挥霍，如今升出
去，可知天从人愿。”因和母亲商议道：“咱们京中虽有几处房舍，只是这十年来
没人居住，那看守的人，未免偷着租赁与人，须得先着人去打扫收拾才好。”他母
亲道：“何必如此招摇！咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是
你姨爹家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂
不消停些。”薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这回子
反一窝一拖的奔了去，岂不没眼色些。”他母亲道：“你舅舅虽升了去，还有你姨
爹家。况这几年来，你舅舅姨娘两处每每带信捎书接咱们来。如今既来了，你
舅舅虽忙着起身，你贾家的姨娘未必不苦留我们。咱们且忙忙的收拾房子，岂
不使人见怪？你的意思我却知道，守着舅舅姨母住着，未免拘紧了你，不如各
住，好任意施为。你既如此，你自去挑所宅子去住，我和你姨娘姊妹们别了这几
年，却要厮守几日，我带了你妹子去投你姨娘家去，你道好不好？”薛蟠见母亲如
此说，情知扭不过的，只得吩咐人夫，一路奔荣国府而来。

那时王夫人已知薛蟠官司一事亏贾雨村就中维持了，才放了心，又见哥哥
升了边缺，正愁少了娘家的亲戚来往，略加寂寞。过了几日，忽家人报：“姨太太
带了哥儿姐儿合家进京，在门外下车了。”喜的王夫人忙带了人接出大厅来，将
薛姨妈等接了进去，姊妹们暮年相见，悲喜交集，自不必说；叙了一番契阔，又引
着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。

薛蟠拜见过贾政贾琏，又引着见了贾赦贾珍等。贾政便使人上来对王夫
人说：“姨太太已有了春秋，外甥年轻，不知庶务，在外住着，恐又要生事。咱们
东南角上梨香院，一所十来间，白空闲着，叫人打扫了，请姨太太和姐儿哥儿住
了甚好。”王夫人原要留住，贾母也就遣人来说：“请姨太太就在这里住下，大家
亲密些。”薛姨妈正欲同居一处，方可拘紧些儿，若另在外，恐纵性惹祸，遂忙道
谢应允；又私与王夫人说明：“一应日费供给，一概免却，方是处常之法。”王夫人
知他家不难于此，遂亦从其愿。从此后，薛家母女就在梨香院中住了。

原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十余间房舍，前
厅后舍俱全；另有一门通街，薛蟠家人就走此门出人。西南又有一角门，通一夹
道，出了夹道，便是王夫人正房的东院了。每日或饭后，或晚间，薛姨妈便过来，
或与贾母闲谈，或与王夫人相叙。宝钗日与黛玉、迎春姊妹等一处或看书下
棋，或做针黹，倒也十分乐意。只是薛蟠起初原不欲在贾府中居住，生恐姨父管
束，不得自在；无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下，一
面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中
凡有的子侄，俱已认熟了一半，都是那些纨裤气习，莫不喜与他来往，今日会酒，
明日观花，甚至聚赌嫖娟，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政
训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，波乃宁
府长孙，又现袭职，凡族中事都是他掌管；三则公私冗杂，且素性潇洒，不以俗事
为要，每公暇之时，不过看书着棋而已。况这梨香院相隔两层房舍，又有街门别
开，任意可以出入，这些子弟们，可以放意畅怀的。因此遂将移居之念，渐渐打
灭了。日后何如，下回分解。

◎第五回贾宝玉神游太虚境警幻仙曲演红楼梦

第四回中既将薛家母子在荣府中寄居等事略已表明，此回则暂不能写矣。

如今且说林黛玉自在荣府，一来贾母万般怜爱，寝食起居，一如宝玉，而迎
春、探春、惜春三个孙女儿倒且靠后；便是宝玉和黛玉二人之亲密友爱处，亦较
别个不同；日则同行同坐，夜则同止同息，真是言和意顺，似漆如胶。不想如今
忽然来了一个薛宝钗，年纪虽大不多，然品格端方，容貌美丽，人谓黛玉所不及。
而宝钗行为豁达，随分从时，不比黛玉孤高自许，目无下尘，故深得下人之心；便
是那些小丫头们，亦多与宝钗顽笑。因此黛玉心中便有些不忿之意，宝钗却浑
然不觉。那宝玉亦在孩提之间，况自天性所禀，一片愚拙偏僻，视姊妹兄弟皆出
一意，并无亲疏远近之别。如今与黛玉同处贾母房中坐卧，故略比别个姊妹熟
惯些。既熟惯，则更觉亲密；既亲密，则不免有求全之毁，不虞之隙。这日不知
为何，二人言语有些不合起来，黛玉又在房中独自垂泪，宝玉又自悔言语冒撞，
前去俯就，那黛玉方渐渐回转来。

因东边宁府花园内梅花盛开，贾珍之妻尤氏乃治酒具，请贾母、邢夫人、王
夫人等赏花。是日先带了贾蓉夫妻二人来面请。贾母等于早饭后过来，就在会
芳园游玩，先茶后酒。不过是宁荣二府眷属家宴，并无别样新文趣事可记。

一时宝玉倦怠，欲睡中觉，贾母命人好生哄着歇息一回再来。贾蓉之妻秦
氏便忙笑道：“我们这里有给宝叔收拾下的屋子，老祖宗放心，只管交与我就是
了。”亲向宝玉的奶娘丫鬟等道：“嬷嬷、姐姐们，请宝叔随我这里来。”贾母素知
秦氏是极妥当的人，生得袅娜纤巧，行事又温柔和平，乃重孙媳中第一个得意之
人，见他去安置宝玉，自是安稳的。

当下秦氏引一簇人来至上房内间，宝玉抬头看见是一幅画贴在上面，人
物固好，其故事乃是“燃藜图”也，心中便有些不快。又有一副对联，写的是：

世事洞明皆学问，人情练达即文章。

及看了这两句，纵然室宇精美，铺陈华丽，亦断断不肯在这里了，忙说：“快出去！
快出去！”秦氏听了笑道：“这里还不好，往那里去呢？不然往我屋里去罢。”宝
玉点头微笑，有一嬷嬷说道：“那里有个叔叔往侄儿媳妇房里睡觉的礼？”秦氏
笑道：“嗳哟，不怕他恼，他能多大了，就忌讳这些么？上月你没有看见我那个兄
弟来了，虽然和宝叔同年，两个人若站在一处，只怕那一个还高些呢。”宝玉道：
“我怎么没有见过他，你带他来我瞧瞧。”众人笑道：“隔着二三十里，那里带去？
见的日子有呢。”

说着大家来至秦氏房中。刚至房中，便有一股细细的甜香袭人，宝玉便觉
得跟饧骨软，连说：“好香！”入房向壁上看时，有唐伯虎画的“海棠春睡图”，两
边有宋学士秦太虚写的一副对联云：

嫩寒锁梦因春冷，芳气袭人是酒香。

案上设着武则天当日镜室中设的宝镜，一边摆着赵飞燕立着舞的金盘，盘内盛
着安禄山掷过伤了太真乳的木瓜。上面设着寿昌公主于含章殿下卧的宝榻，悬
的是同昌公主制的连珠帐。宝玉含笑道：“这里好！这里好！”秦氏笑道：“我这
屋子大约神仙也可以住得的。”说着，亲自展开了西施浣过的纱衾，移了红娘抱
过的鸳枕，于是众奶姆伏侍宝玉卧好了，款款散去，只留下袭人、秋纹、晴雯、麝
月四个丫鬟为伴。秦氏便吩咐小丫鬟们好生在檐下看着猫儿打架。

那宝玉才合上眼，便恍恍惚惚的睡去，犹似秦氏在前，遂悠悠荡荡，随了秦
氏至一所在。但见朱栏玉砌，绿树清溪，真是人迹不逢，飞尘罕到。宝玉在梦中
欢喜，想道：“这个去处有趣，我就在这里过一生，虽然失了家也愿意，强如天天
被父母打去。”正胡思之间，忽听见山后有人作歌曰：

春梦随云散，飞花逐水流；寄言众儿女：何必觅闲愁。

宝玉听了是女儿的声气。歌音未息，早见那边走出一个丽人来，蹁跹袅娜，与凡
人不同。有赋为证：

方离柳坞，乍出花房。但行处，乌惊庭树；将到时，影度回廊。仙
袂乍飘兮，闻麝兰之馥郁；荷衣欲动兮，听环佩之铿锵。靥笑春桃兮，
云堆翠髻；唇绽撄颗兮，榴齿含香。盼纤腰之楚楚兮，风回雪舞；耀珠
翠之辉煌兮，鸭绿鹅黄。出没花问兮，宜嗔宜喜；徘徊池上兮，若飞若
扬。娥眉颦笑兮，将言而未语；莲步乍移兮，欲止而欲行。羡彼之良
质兮，冰清玉润；慕彼之华服兮，闪烁文章。爱彼之客貌兮，香培玉篆；
美彼之态度兮，凤翥龙翔。其素若何，春梅绽雪；其洁若何，秋蕙披霜。
其静若何，松生空谷；其艳若何，霞映澄塘。其文若何，龙游曲沼；其神
若何，月射寒江。应惭西子，实愧王嫱。奇矣哉，生于孰地？来自何
方？信矣乎，瑶池不二，紫府无双。果何人哉？若斯之美也！

宝玉见是一个仙姑，喜的忙来作揖，笑问道：“神仙姐姐，不知从那里来，如
今要往那里去？我也不知这里是何处，望乞携带携带。”那仙姑道：“吾居离恨
天之上，灌愁海之中，乃放春山遣香洞太虚幻境警幻仙姑是也：司人间之风情月
债，掌尘世之女怨男痴。因近来风流冤孽，缠绵于此，是以前来访察机会，布散
相思。今日与尔相逢，亦非偶然。此离吾境不远，别无他物，仅有自采仙茗一
盏，亲酿美酒一瓮，素练魔舞歌姬数人，新填‘红楼梦’仙曲十二支，可试随我一
游否？”

警幻仙姑 = Fairy Disenchantment

宝玉听了，喜跃非常，便忘了秦氏在何处，竟随了仙姑至一所在。有石牌
横建，上书“太虚幻境”四大字，两边一副对联，乃是：

假作真时真亦假，无为有处有还无。

转过牌坊，便是一座宫门，上横书四个大字，道是：“孽海情天”。又有一副对联，
大书云：

厚地高天，堪叹古今情不尽；痴男怨女，可怜风月债难酬。

宝玉看了，心下自思道：“原来如此。但不知何为‘古今之情’？又何为‘风
月之债’？从今倒要领略领略。”宝玉只顾如此一想，不料早把些邪魔招人膏肓
了。当下随了仙姑进入二层门内，只见两边配殿，皆有匾额对联，一时看不尽许
多，惟见几处写着的是：“痴情司”、“结怨司”、“朝啼司”、“暮哭司”、“春感司”、
“秋悲司”。看了，因向仙姑道：“敢烦仙姑引我到那各司中游玩游玩，不知可使
得？”仙姑道：“此中各司贮的是普天之下所有的女子过去未来的簿册，尔凡眼
尘躯，未便先知的。”宝玉听了，那里肯依，复央之再四，警幻便看这司的匾说：
“也罢，就在此司内略随喜随喜罢。”宝玉喜不能胜，抬头看这司的匾上，乃是
“薄命司”三字，两边写着对联道：

春恨秋悲皆自惹，花容月貌为谁妍。

宝玉看了，便知感叹。进入门中，只见有十数个大橱，皆用封条封着。看
那封条上，皆有各省字样。宝玉一心只拣自己家乡的封条看，只见那边橱上封
条大书“金陵十二钗正册”，宝玉因问：“何为‘金陵十二钗正册’？”警幻道：“即
贵省中十二冠首女子之册，故为正册。”宝玉道：“常听人说，金陵极大，怎么只十
二个女子？如今单我们家里，上上下下就有几百个女孩儿。”警幻微笑道：“贵
省女子固多，不过择其紧要者录之，两边二橱则又次之。余者庸常之辈，则无册
可录矣。”

宝玉再看下首一橱，上写着“金陵十二钗副册”；又一橱上写着“金陵十二
钗又副册”。宝玉便伸手先将“又副册”橱门开了，拿出一本册来，揭开看时，只
见这首页上画的，既非人物，亦非山水，不过是水墨滃染、满纸乌云浊雾而已。
后有几行字迹，写道是：

霁月难逢，彩云易散。心比天高，身为下贱。风流灵巧招人怨。寿夭

多因诽谤生，多情公子空牵念。
宝玉看了，又见后面画着一簇鲜花，一床破席，也有几句言词，写道是：

枉自温柔和顺，空云似桂如兰；堪羡优伶有福，谁知公子无缘。

宝玉看了不解，遂掷下这个，去开了“副册”橱门，拿起一本册来，揭开看时，只见
画着一枝桂花，下面有一池沼，其中水涸泥干，莲枯藕败，后面书云：

根并荷花一茎香，平生遭际实堪伤；自从两地生孤木，致使香魂返故
乡。

宝玉看了又不解，又去取“正册”看，只见头一页上便画着两株枯木，木上悬着
一围玉带；又有一堆雪，雪中一股金簪。也有四句诗道：

可叹停机德，谁怜咏絮才；玉带林中挂，金簪雪里埋。

宝玉看了仍不解，待要问时，知他必不肯泄漏天机；待要丢下，又不舍，遂往后看
时，只见面着一张弓，弓上挂着一个香橼。也有一首歌词云：

二十年来辨是非，榴花开处照宫闱；三春怎及初春景，虎兔相逢大梦
归。

后面又画着两个人放风筝，一片大海，一只大船，船中有一女子，掩面泣涕之状。
也有四句写云：

才自清明志自高，生于末世运偏消；清明涕送江边望，千里东风一梦
遥。

后面又画几缕飞云，一湾逝水。其词曰：

富贵又何为，襁褓之间父母违；展眼吊斜辉，湘江水逝楚云飞。

后面又画着一块美玉，落在泥污之中。其断语云：

欲洁何曾洁，云空未必空，可怜金玉质，终陷淖泥中。

后面忽画一恶狼，追扑一美女，欲啖之意。其书云：

子系中山狼，得志便猖狂；金闺花柳质，一载赴黄粱。

后面便是一所古庙，里面有一美人，在内看经独坐。其判云：

勘破三春景不长，缁衣顿改昔年妆；可怜绣户候门女，独卧青灯古佛
旁。

后面便是一片冰山，上有一只雌凤。其判云：

凡鸟偏从末世来，都知爱慕此生才；一从二令三人木，哭向金陵事更
哀。

后面又是一座荒村野店，有一美人在那里纺绩。其判云：

势败休云贵，家亡莫论亲；偶因济刘氏，巧得遇恩人。

诗后又画一盆茂兰，旁有一位凤冠霞帔的美人。也有判云：

桃李春风结子完，到头谁似一盆兰；如冰水好空相妒，枉与他人作笑谈。

诗后又画一座高楼，上有一美人悬梁自尽。其判云：

情天情海幻情身，情既相逢必主淫；漫言不肖皆荣出，造衅开端实在
宁。

宝玉还欲看时，那仙姑知他天分高明、性情颖慧，恐泄漏天机，便掩了卷册，笑向
宝玉道：“且随我去游玩奇景，何必在此打这闷葫芦！”

宝玉恍恍惚惚，不觉弃了卷册，又随了警幻来至后面。但见珠帘绣幕，画
栋雕檐，说不尽的光摇朱户金铺地，雪照琼窗玉作宫。更见仙花馥郁，异草芬
芳，真个好所在。又听警幻笑道：“你们快出来迎接贵客！”一言未了，只见房中
走出几个仙子来，皆是荷袂蹁跹，羽衣飘舞，娇若春花，媚如秋月。一见了宝玉，
都怨谤警幻道：“我们不知系何‘贵客’，忙的接了出来！姐姐曾说今日今时必
有绛珠妹子的生魂前来游玩，故我等久待。何故反引这浊物来污染这清净女儿
之境？”

宝玉听如此说，便吓得欲退不能，果觉自形污秽不堪。警幻忙携住宝玉的
手，向众姊妹笑道：“你等不知原委：今日原欲往荣府去接绛珠，适从宁府经过，
偶遇荣宁二公之灵，嘱吾云：‘吾家自国朝定鼎以来、功名奕世，富贵流传，已历
百年，奈运终数尽，不可挽回。我等之子孙虽多，竟无可以继业者。惟嫡孙宝玉
一人，禀性乖张，用情怪谲，虽聪明灵慧，略可望成，无奈吾家运数合终，恐无人
规引入正。幸仙姑偶来，可望先以情欲声色等事警其痴顽，或能使彼跳出迷人
圈子，入于正路，亦吾兄弟之幸矣。’如此嘱吾，故发慈心，引彼至此。先以彼家
上中下三等女子之终身册籍，令彼熟玩，尚未觉悟；故引彼再到此处，冷其历饮
馔声色之幻，或冀将来一悟，来可知也。”

说毕，携了宝玉入室。但闻一缕幽香，不知所闻何物。宝玉遂不住相问，
警幻冷笑道：“此香尘世中所无，尔何能知！此系诸名山胜境初生异卉之精，合
各种宝林珠树之油所制，名为‘群芳髓’。”宝玉听了，自是羡慕而已。大家入
座，小鬟捧上茶来，宝玉自觉香清味美，迥非常品，因又问何名。警幻道：“此茶
出在放春山遣香洞，又以仙花灵叶上所带的宿露而烹，此茶名曰‘千红一窟’。”
宝玉听了，点头称赏。因看房内瑶琴、宝鼎、古画、新诗，无所不有；更喜窗下亦
有唾绒，奁间时渍粉污。壁上也有一副对联，书云：

幽微灵秀地，无可奈何天。

宝玉看毕，无不羡慕，因又请问众仙姑姓名：一名痴梦仙姑，一名钟情大士，一名
引愁金女，一名度恨菩提，各各道号不一。少刻，有小鬟来调桌安椅，摆设酒馔，
真是：

琼浆满泛玻璃盏，玉液浓斟琥珀杯。

更不用说此馔之盛。宝玉因此酒香冽异常，又不禁相问。警幻道：“此酒乃以
百花之蕤，万木之汁，加以麟髓之醅、凤乳之曲酿成，因名为‘万艳同杯’。”宝玉
称赏不迭。

饮酒间，又有十二个舞女上来，请问演何调曲，警幻道：“就将新制‘红楼
梦’十二支演上来。”舞女们答应了，便轻敲檀板，款按银筝，听他歌道是：

开辟鸿蒙……

方歌了一句，警幻道：“此曲不比尘世中所填传奇之曲，必有生旦净末之则，又有
南北九官之调。此或咏叹一人，或感怀一事，偶成一曲，即可谱入管弦。若非个
中人，不知其中之妙；料尔亦未必深明此调，若不先阅其稿，后听其曲，反成嚼蜡
矣。”说毕，回头命小鬟取了“红楼梦”原稿来，递与宝玉。宝玉接过来，一面目
视其文，耳聆其歌曰：

〔红楼梦引子〕

开辟鸿蒙，谁为情种？都只为风月情浓。奈何天，伤怀日，寂寥时，试
遣愚衷。因此上，演出这悲金悼玉的“红楼梦”。

〔终身误〕

都道是金玉良缘，俺只念木石前盟。空对着，山中高士晶莹雪；终不
忘，世外仙姝寂寞林。叹人间，美中不足争方信。纵然是齐眉举案，到底
意难平。

〔枉凝眉〕

一个是阆苑仙葩，一个是美玉无暇。若说没奇缘，今生偏又遇着他；
若说有奇缘，如何心事终虚话？一个枉自嗟呀，一个空劳牵挂。一个是水
中月，一个是镜中花。想眼中能有多少泪珠儿，怎禁得秋流到冬，春流到
夏！

却说宝玉听了此曲，散漫无稽，未见得好处；但其声韵凄婉，竟能销魂醉魄。
因此也不问其原委，也不究其来历，就暂以此释闷而已。因又看下面道：

〔恨无常〕

喜荣华正好，恨无常又到。眼睁睁，把万事全抛。荡悠悠，芳魂销耗。
望家乡，路远山高。故向爹娘梦里相寻告：儿命已入黄泉，天伦呵，须要退
步抽身早！

〔分骨肉〕

一帆风雨路三千，把骨肉家园，齐来抛闪。恐哭损残年。告爹娘，休
把儿悬念：自古旁通皆有定，离台岂无缘？从今分两地，各自保平安。奴
去也，莫牵连。

〔乐中悲〕

襁褓中，父母叹双亡。纵居那绮罗丛，谁知娇养？幸生来，英豪阔大
宽宏量，从未将儿女私情，略萦心上。好一似，霁月光风耀玉堂。厮配得
才貌仙郎，博得个地久天长，准折得幼年时坎坷形状。终久是云散高唐，
水涸湘江：这是尘寰中消长数应当，何必枉悲伤？

〔世难容〕

气质美如兰，才毕馥比仙。天生成孤癖人皆罕。你道是啖肉食腥膻，
视绮罗俗厌；却不知好高人愈妒，过洁世同嫌。可叹这，青灯古殿人将老；
孤负了，红粉朱楼春色阑。到头来，依旧是风尘肮脏违心愿；好一似，无暇
白玉遭泥陷；又何须，王孙公子叹无缘？

〔喜冤家〕

中山狼，无情兽，全不念当日根由。一味的，骄奢淫荡贪欢媾。觑着
那，侯门艳质同蒲柳；作践的，公府千金似下流。叹芳魂艳魄，一载荡悠悠。

〔虚花悟〕

将那三春看破，桃红柳绿待如何？把这韶华打灭，觅那清淡天和。说

什么，天上夭桃盛，云中杏蕊多？到头来，谁见把秋捱过？则看那，白杨村

里人呜咽，青枫林下鬼呤哦。更兼着，连天衰草遮坟墓。这的是，昨贫今

富人劳碌，春荣秋谢花折磨。似这般，生关死劫谁能躲？闻说道，西方宝
树唤婆娑，上结着长生果。

〔聪明累〕

机关算尽太聪明，反算了卿卿性命！生前心已碎，死后性空灵。家富
人宁，终个有，家亡人散各奔腾。枉费了，意悬悬半世心；好一似，荡悠悠三
更梦。忽喇喇似大厦倾，昏惨惨似灯将尽。呀！一场欢喜忽悲辛。叹人
世，终难定！

〔留余庆〕

留余庆，留余庆，忽遇恩人；幸娘亲，幸娘亲，积得阴功。劝人生，济困
扶穷，休似俺那爱银钱、忘骨肉的狠舅奸兄！正是乘除加减，上有苍穹。

〔晚韶华〕

镜里恩情，更那堪梦里功名！那美韶华去之何迅！再休提绣帐鸳衾。
只这戴珠冠，披凤袄，也抵不了无常性命。虽说是，人生莫受老来贫，也须
要阴骘积儿孙。气昂昂，头戴簪缨，光灿灿，胸悬金印；威赫赫，爵禄高登，
昏惨惨，黄泉路近！问古来将相可还存？也只是虚名儿与后人钦敬。

〔好事终〕

画梁春尽落香尘。擅风情，秉月貌，便是败家的根本。箕裘颓堕皆从
敬，家事消亡首罪宁。宿孽总因情！

〔飞鸟各投林〕

为官的，家业雕零；富贵的，金银散尽；有恩的，死里逃生；无情的，分明
报应。欠命的，命已还；欠泪的，泪已尽。冤冤相报自非轻，分离聚合皆前
定。欲知命短问前生，老来富贵也真侥幸。看破的，遁入空门；痴迷的，枉
送了性命。好一似食尽鸟投林，落了片白茫茫大地真干净！

歌毕，还又歌副歌。警幻见宝玉甚无趣味，因叹：“痴儿竟尚未悟！”那宝玉
忙止歌姬不必再唱，自觉朦胧恍惚，告醉求卧。警幻便命撤去残席，送宝玉至一
香闺绣阁中，其间铺陈之盛，乃素所未见之物。更可骇者，早有一位女子在内，
其鲜艳妩媚，有似乎宝钗；风流袅娜，则又如黛玉。正不知何意，忽警幻道：“尘
世中多少富贵之家，那些绿窗风月，绣阁烟霞，皆被淫污纨裤与那些流荡女子悉
皆玷辱。更可恨者，自古来，多少轻薄浪子，皆以‘好色不淫’为解，又以‘情而
不淫’作案，此皆饰非掩丑之语也。好色即淫，知情更淫。是以巫山之会，云雨
之欢，皆由既悦其色、复恋其情所致也。吾所爱汝者，乃天下古今第一淫人也。”

宝玉听了，唬的慌忙答道：“仙姑差了。我因懒于读书，家父母尚每垂训
饬，岂敢再冒‘淫’字？况且年纪尚幼，不知‘淫’为何事。”警幻道：“非也。淫虽
一理，意则有别。如世之好淫者，不过悦容貌，喜歌舞，调笑无厌，云雨无时，恨
不能天下之美女供我片时之趣兴：此皆皮肤滥淫之蠢物耳。如尔则天分中生成
一段痴情，吾辈推之为‘意淫’。惟‘意淫’二字，可心会而不可口传，可神通而
不能语达。汝今独得此二字，在闺阁中固可为良友，然于世道中未免迂阔怪诡，
百口嘲谤，万目睚眦。今既遇令祖宁荣二公剖腹探嘱，吾不忍君独为我闺阁增
光而见弃于世道，故引子前来，醉以美酒，沁以仙茗，警以妙曲，再将吾妹一人，
乳名兼美表字可卿者，许配与汝。今夕良时，即可成姻。不过令汝领略此仙闺
幻境之风光尚然如此，何况尘境之情景哉？而今后，万万解释，改悟前情，留意
于孔孟之间，委身于经济之道。”说毕，便秘授以云雨之事，推宝玉入房中，将门
掩上自去。

那宝玉恍恍惚惚，依警幻所嘱之言，未免有儿女之事，难以尽述。至次日，
便柔情缱绻，软语温存，与可卿难解难分。因二人携手出去游玩之时，忽然至一
个所在，但见荆榛遍地，狼虎同行，迎面一道黑溪阻路，并无桥梁可通。正在犹
豫之间，忽见警幻从后追来，说道：“快休前进，作速回头要紧！”宝玉忙止步问
道：“此系何处？”警幻道：“此即迷津也，深有万丈，遥亘千里，中无舟楫可通，只
有一个术筏，乃木居士掌柁，灰侍者撑篙，不受金银之谢，但遇有缘者渡之。尔
今偶游至此，设如坠落其中，便深负我从前谆谆警戒之语矣。”话犹未了，只听迷
津内响如雷声，有许多夜叉海鬼，将宝玉拖将下去，吓得宝玉汗下如雨，一面失
声喊叫：“可卿救我！”吓得袭人辈众丫鬟忙上来搂住，叫：“宝玉不怕，我们在这
里。”

却说秦氏正在房外嘱咐小丫头们好生看着猫儿狗儿打架，忽闻宝玉在梦
中唤他的小名，因纳闷道：“我的小名这里从无人知道，他如何知得，在梦中叫出
来？”正在不解，且听下回分解。

20210601 culture5

2021-06-14T02:46:51Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:46:23Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:46:01Z

Wu Siyi: /* Introduction */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:45:42Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:45:07Z

Wu Siyi: /* 4. Color Matching */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:44:36Z

Wu Siyi: /* 4. Color Matching */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|200px|right|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

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'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|right|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:43:24Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:42:23Z

Wu Siyi: /* Characteristics */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:41:50Z

Wu Siyi: /* 3. Classic Patterns */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:41:20Z

Wu Siyi: /* 3. Classic Patterns */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|left|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:40:22Z

Wu Siyi: /* 3. Classic Patterns */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|200px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|200px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:39:46Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:38:55Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:38:16Z

Wu Siyi: /* Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery) */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

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'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|400px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-14T02:31:01Z

Wu Siyi: /* Characteristics */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

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

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.

''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|200px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =
I suggest to change my topic to Wuqinxi.ok

=Yāo Yáng 么阳=
Chinese traditional cultivation culture
ok

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of ''The Classic'' progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|left|点翠(https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses based on Kingfisher feathers and supplemented by gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|left|翠羽(http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui”, refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long and storied history. The earliest record of Kingfisher craft is from Han Feizi, "The Chu people sold their pearls to Zheng, and made a casket of magnolia, smoked with cinnamon and pepper, decorated with pearls and jade, decorated with roses, and decorated with series of Kingfisher feathers."( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "series of Kingfisher feathers" recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold tweezers." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold and cui jewelry, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It is about the jewelry made with kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The kingfisher feathers pearls is the jewelry made by kingfisher craft. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made by Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feather in headgear. <③ P32>
The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active, and the style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornament was perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|left|九龙九凤冠(http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional jewelry, there was no market for it. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention. There are already some designers who have designed modern kingfisher products with other materials, and there are also people who use the craft to restore previous jewelry made by kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

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